I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.

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.

Whether it's a street poster on a brick wall, a magazine cover on a newsstand, or animation on a movie screen - art is an effective means of communicating with large numbers of people.

Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.

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.

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.

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.