What you're trying to create is a certain kind of an indispensable presence, where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody's a friend, or somebody's being generous to you.
There's this idea that many of the attitudes and personality developments in black folks in the diaspora are a consequence of this unresolved trauma. There have been attempts by black artists to try and figure out how to represent that in some kind of way.
I stumbled upon Charles White purely by chance while looking through a book 'Great Negroes, Past and Present' in the library at Forty-Ninth Street Elementary School in South-Central Los Angeles. I was in the fifth grade.
To me, if there is any sort of value added to the accumulation of knowledge over time, then the work of artists should be a reflection of that accumulated value, accumulated knowledge. You have to demonstrate that you have the sophistication to put that into play in the work you're making.
Abstraction and representation are supposed to be going down two very different paths, one sociological and the other aesthetic.
Clarity is important. Part of what I'm trying to do with some of these pictures is eliminate as much of the potential, as many kind of readings as people might want to make, as possible.
