Sometimes people just think, oh, I did this out of the clear blue sky. But there is a story behind each one, basically.

God's gift to me is to be this documenter. Somebody has to document it. Times change, and clothing styles change. All this has been documented by me in some shape, form, or fashion.

Now the reason I changed to wood is because wood is more constant. Linoleum, when summertime comes, expands, then when it gets cold, it'll contract. With wood, it stays basically the same when you are working with a whole lot of colors.

We've had Wilma Jennings in our house ever since I was a kid. I mean since I was knee-high. Always, I looked at this painting and always, you know, it sticks in your mind. It was in the family room.

I want my layers to build up on the paper. The paper will become very heavy with ink. You can rub your hand across it and feel the layers of ink and the different textures I've created, by the scratch marks and the different other type lines.

In my dance sequences, I try to convey a lot of movement, that's why I put in a lot of different people. And, if you look at some of the forms in it, they're very disjointed in order to help activate that movement of rhythm.

What I really like about the way the print came out is the way the hairs on the head are. Because I kept scratching away and adding more colors to it, until the hair became a lot more texturous than you would normally see in some of the other prints that I do. And that was me experimenting with what I could do when certain colors get covered up with other colors.

The imagery is more impressionalistic, which is what I'm moving toward. I'm not into trying to capture a whole lot of facial features. I want to capture the essence of the personalities of the individuals. And I have had people come and, and say this is so and so. They can tell just by the look of her body, the way she was moving, and that's the image that I go for.