Over the years she has been a constant point of focus and therefore has become to feel like a stable entity. I know her character more rather than needing to define her and so I can allow her to be less of a constraint and more of a reliable partner.

In the paintings, Fatebe is often an actor in an environment, so there is a theatrical space that I can play with. With the physicality and the process of the medium, the depth that it offers inspires me to position her in a more spatially complex scenario. While Fatebe is rarely diminished in the paintings, the dimension of the narrative can grow around her. The drawings on the other hand give me the solace of her existing as an uncomplicated image. By that, I mean that the drawings are each a unique depiction of a complete self in the sense that she is morphed with and into whatever action or thing she is interacting with. I think the constraint of the flat black ink line still offers the same function it did when I began drawing her—a chance to invent an aspect of her with every drawing.

Generally, yes. I can't recall something that I particularly disagree with. I guess maybe when [Fatebe] is introduced as especially grotesque or as some sort of affirmation mostly because I don't see her in any terms besides expressing her unique self.

Running—there is nothing that compares to the clarity and the simple flow of thoughts while on a good run. It's often then when I feel most physically strained in my body that ideas which normally would be obstructed by scrutiny can just unfold in my mind.

The end of this horrific war on the people of Ukraine.