When I turned to painting Wimbledon, the crowd got bigger. Puppets, masks and comic imagery developed in the stands. These are perennial influences on me and sources of interest that I feel like come through from the subconscious. I wanted to push the usual tennis scene of the prim and proper, mostly-white audience to something more accessible. That’s where the tattered net came in. I also added a hand-sanitizer bottle that I had found outside my Brooklyn apartment and kept in the studio because I liked the packaging. When I stay with the work for long enough I am able to add my daily influences and experiences—the meaning shifts closer to my life. This is when I feel like the work becomes most alive to me.