I'm big into multifunctional clothing.
My works tends to be erotic.
If something hurtful enters your body, you create something beautiful to protect yourself from it. That's my philosophy.
I really believe in dreaming and making things from nothing.
I would like to make work for my country, art which is innately Kenyan by being made in Kenya.
Our interest is in showing that homophobia is not part of the agenda for a new Africa.
There's a recycling mentality about my work.
When certain things reach a tipping point, and you know people's lives are in danger, you have to decide that it's time to speak up, and you have to say something loud and clear.
If I don't have an ability to go the places that I have been invited to show at and to speak at and to feature my talent, well then, I am going to stay here in New York City and work my butt off.
So many a time, I would find myself stuck in my studio while, in another country, my exhibitions were opening and I was being celebrated.
I feel like I've spent a lot of time imagining home and thinking about a dream-like place, as opposed to a real place, because that's not what I was able to do, meaning go home or be home.
I am fascinated by these ocean-grown folks. On the coast, there's all this cross-pollination of ideas. Someone thinks they saw something. One person's madness is reiterated by another, and a story is born. The rumour becomes a substitute for news.
I'm not a documentarian. I'm not a photojournalist.
In 'National Geographic,' you always saw pictures of tribal Africa. And here I am, sitting in Nairobi in our suburban house, watching TV and thinking, 'Why is it always going to be these tribal people 'that are the ambassadors of our image?
I think there is something about countries and nations that is hard to define. And, in fact, that's probably why we create such massive boundaries - because it's so slippery where they begin and where they end.
We have to redefine what we mean when we say, 'Who are your people?' 'Where are you from?'
The medium of film is really wonderful because it can behave in the same way as collage and painting; it can be layered and non-literal.
I'm very much a person that believes that there's something that was introduced into Kenya and Africa as we know it that has made us despise our bodies.
Being taught to despise your body is being taught to perhaps admire someone else's body more than yours - being taught that your body is good for certain things and not for others.
Often, there's an emphasis in my work, and it's sort of the celebrating of the body.
