We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.

Street art is about as religious as I get - that's my faith, that even if people screen it out and didn't think they saw it, they did. Even if it was for a split second, it's become part of them and it's affecting them somehow.

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 problem with prostitution in my experience is that it's often unsatisfying.

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.

The trick is not to look back, but keep on expressing where I'm at now. It's challenging to create something new, so it's crucial to dwell in the present moment.

As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.