...have necessarily thought of it first and foremost for art.

I mean, to go back to this portfolio review day, like, way back when I was a kid, um...

And also, yeah, that was, there was seven years of doing all kinds of things.

And part of what was so wildly off-putting about my undergraduate experience was that there was this idea that you are there to fit into an art historical continuum, and that is basically the same as starting any business or something and having to be relevant or whatever.

And that motivating drive for so many of the people I went to school with, if not all of them, made them, you know, spend huge amounts of money for student projects that looked like museum, kind of incredible things they were making, and then they s- immediately stopped making work as soon as they graduated.

What I struggled with in that s-situation, uh, in undergraduate st-studies was that it was this kind of feedback loop where people were really, like, only interested in having a career.

And so what was wonderful about being at Carnegie Mellon was that it was a university where I could take classes in other departments, and they'd actually force a sort of inter-disciplinary relationship you have to choose if you're going to go to humanities and partner with them or science, and I actually went with humanities.

What do you imagine your painting being in dialogue with the other paintings here being?