I try to, at least once or twice a week, have someone over and model, usually a dancer friend or a poet or someone to come over and just stay still for me. Depending on how exhibitionist they are, it will determine the finished work. And I say, "You're the muse; you come up with it. I'll draw you however you want."

I think for an artist there are so many things to make pictures of now, that everyone else may be suffering, but at least artists will just be stimulated by it all.

People don't work in factories, [they aren't] big muscular guys. The working class is flabby because they're sitting in front of a computer all day, but it's still their labor being extracted.

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.

Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly.

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.

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.