For me, at some point, the idea of struggling through the process was not as interesting as doing tests and executing the painting after I figured out all of its elements and how they were going to work together.

Co-mingling really disturbs a lot of the purists, who want to see the historical and cultural divides instead of the meshing.

In high school I was good at math and everybody wanted me to do something with that - mathematics or engineering - which was a nightmare scenario for me. Meeting other artists and going to punk rock shows at that age, there was a feeling of freedom and community that I wanted to partake in.

I’m not sure a lot of other people would walk up to the same artwork and see the shadow on the person’s face from the hat and be like “Do you see that!” It’s about noticing things that interest you, and that definitely happens with the natural world as well.

The humor for me is how far above your head the signature is - it's dislocated from the sign of the artist in such a distinct way that it could almost be a self-portrait of a sort.

I feel like there’s a space of personal freedom for me where my art-making happens. When I go to that space, I’m completely in this world of possibility.

There tends to be a sort of mundane quality to what I select - things from around the house, around the studio. I'm not ashamed of the craft shop - the art supply store - and I don't need my work to be anti-art store, but I also believe in using things that are just sort of around - it makes sense to me.

Sometimes a collage element I hit upon can inspire the entire drawing.

I think that I'm going to be including a lot of anonymous female artists in what I look at and incorporate. Most textiles are created by women. Generally, most stuff that's not in the canon is created by women.