I talk to someone. Dialogue helps relax the mind and new ideas are planted as people talk to me. Sometimes one phone call is enough, other times meeting a friend at a café or a bar will do the trick. To take the focus out of ourselves for a while helps us find new creative ways. We shouldn’t be prisoners to the traps our brain creates. To read or to go out for a walk can also be rather helpful.

Nothing happens because there’s not enough real activity and challenge: You’re not in contact with the experimental guys.  You don’t have to think how to answer questions from the students.  Nothing!

I look for how to get out of it. I try to use here [points to her head]. I tried to read, I tried to talk to others. I tried my best to get out of it. I had lots of times climbing one Everest to find that there is a bigger Everest, but don’t you find your life like this too?

I feel like that’s my actual profession: to get stuck and then get unstuck. That’s what I actually spend most of my time doing. It happens mostly in fiction for me. But maybe that’s what we all are doing all the time. That might be what life is, I feel like, is taking something as far as you can and then being like, “I actually don’t know what to do next.” And then, having to figure out, “Okay. So how is that an opportunity?”

It requires me to be in prayer and meditation daily, or else I will literally spiral out. It’s something that I put at the forefront of my life.

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.

Yes, the Kuleshov effect. When you place one image next to another, meaning emerges. If you change one image, the meaning changes. They are these psychological landscapes that are being painted. So I find this technique and the various ways that montages can be assembled extremely helpful.

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

This process has also involved slowing down and refusing a certain amount of labor that has been imposed upon me as a Black woman in this country.

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