With what we've been taught is the proper role of art, which is that you want to have it very neatly matted and framed and put on a white wall in some room where only a certain class of people are going to go in.

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.

By the time I was in my early-twenties and was living there on the Lower East Side, I was so surrounded by tragedy that I think that inspired me to try to reflect it in the artwork.

Illustrators are usually illustrating something big or commercial if not outright advertising. It's a form of prostitution, but that's cool because we don't have any moral hang-up about it.

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.

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.

Art is one of the few ways we have of dealing with things that frighten or anger us.