In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.

Street posters allowed you to have the last word. If you put them up in your neighborhood, you were speaking to your neighbor.

Everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.

The unusual thing about doing street poster art - or something with a conscious social critique in it - is that the artist thinks they're a little in control, focusing and trying to make a specific point. But even then, when you look at it a few years later, you realize you were just working through some of the usual feelings you were going through during that time.

There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.

The art was just a way of hooking people in, saying: "Hey, maybe there's something cool about the tenant meeting. If the picture's really cool and weird, maybe I should check this out." And I think all of my art has really developed out of that realization.

The Street is as large as consciousness itself. So, when creating art for the street, be mindful of where the public's head is at these days. Give the public a real alternative to the strict diet of celebrity gossip, religion, and un-reality television.