My mom was an orphan, and there was never anybody to tell her what she could or couldn't do. At the core, she's probably an artist - an artist and a feminist.
I don't know why we, in the art world, cannot unpack things and sort of make hybrid notions of a practice. We're very rigid. It's funny, though; in music, we have no problem sampling, mixing and remixing. But in the art world, why can't we take little parts of history and mix it together?
I just follow the things I'm interested in. That's always guided me. If I'm interested in something, that's where I go.
The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive. As a citizen, you have to participate in that every day. You have to walk by until it's changed.
I've always been inspired by small details that make me wander. My mother would ask me, 'What are you looking at so intensely?' I would answer, 'Everything and nothing.' She really supported my wanderings, called me Marco Polo.
If Home Depot doesn't have it, Mark Bradford doesn't need it.
I just like artist-driven projects, but for artists themselves: artist spaces, artist mentor programs, and artists buying buildings and making lofts. Doing whatever we can do. Because at the end of the day, I really think that we as a community only have each other.
I don't know why so many artists talk about the mainstream's problems from the fringe. I think, unfortunately, it's almost like our education makes us too safe and terrified to step into the world.
I look at art as a container. You can't get inside it, so you have to ask all of these questions.
In the neighborhood where my studio is, in South Central Los Angeles, there are a lot of immigrant-owned businesses. I'm constantly amazed at the level of work they do. It's above anything. For me, I think I pattern myself on that work ethic.
In the city, you're always looking around, observing everything. In some neighborhoods, your life can depend on it. The details change constantly.
The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'
That's how I make work. Along the way, I take notes, I read about history and popular culture. Sometimes I act out things in the studio. I go back to my mother's hair salon so I can hear three voices going all at once. I pull inspiration from everything.
When I was thirteen, I was in a supermarket with my mother, and for no reason at all, I picked up a science-fiction book at the checkout stand and started reading it. I couldn't believe I was doing that, actually reading a book. And, man, it opened up a whole new thing. Reading became the sparkplug of my imagination.
Everything I do has an underlying political question.
I fell through the holes in the educational system. But education is still a way to change a life.