What I’ve come to realize is this: Optimism is more than just a feeling; it’s a strategic approach. And when navigating uncertainty, setbacks and change, it’s one of the most powerful tools in our arsenal.

For the last few weeks, I've been completely happy. I've got my next PSA in three weeks' time. It may well show my PSA is starting to go up, and the cancer's coming back. Totally to my surprise, I've acquired this sort of Buddhist Zen outlook. Well, the future doesn't exist. I'm well. I'm happy at the moment. I've had a wonderful, exciting life. I've made lots of mistakes. I've trampled on people - yak, yak, yak, as I discuss in my books. But at the moment, today, the sun is shining. I'm very well. It's not that I'm in denial, but I think, well, all right. It may be bad news in three weeks' time, but that's three weeks away. At the moment, I'm well.

Pressure is something that you feel only when you don’t know what you’re doing

Technology is nothing. What’s important is that you have a faith in people, that they’re basically good and smart, and if you give them tools, they’ll do wonderful things with them.

Visibility doesn’t equal power.

One of my biggest disappointments: I used to take piano lessons as a young girl, and then I stopped, because I was having a really difficult year as a kid. My step father had died, and I didn't want to do anything -- so I just stopped taking lessons. And then I think back and I'm like, “Damn, I could have been Nina Simone!” Haha

When I start a project, it’s a kind of investigation and curiosity at the beginning. I’m basically culling materials. I’m gathering. A lot of the work takes on a collage aesthetic. So I am thinking through an idea and then gathering all of the supporting documents. In some ways it’s essayistic. I’m attempting to put forth an idea or a thesis. There are assertions that are being made, and what can I use visually, whether it is 16 millimeter film from the past or things that I shoot myself, whether it’s interview that I go out and get, whether it’s me painting on film and creating some sort of abstraction that alludes to or gestures towards the assertion. It’s playtime at the beginning. It’s almost like a very active brainstorming that requires me to go out and find materials as well as make notes, as well as look at footage as well as read. It’s investigative curiosity at the beginning, this phase of questioning and garnering. And at the end it’s instinctual. It’s a sweet spot. There have been times where I’ve gone out and presented something thinking that it’s done and then brought it back. I’ve gotten audience reactions, brought it back, turned it up a little bit, and then it was done. Sometimes my finishing process requires me to see it with a large group of people.

So I don’t ever feel the urge to kind of rewrite the work.

You can become a different person. That’s actually my favorite thing about Malcolm X is that he transformed himself multiple times over. He became a different person and always for the better. He kept leveling up.

I’m calling people like Simone Leigh, Cauleen Smith—people who have sold things—asking, “What does this look like? What is this process?”