The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.

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.

When I was younger, when I was a teenager, the work was more satirical and funny and cartoony. And part of it was chops - if you have a more limited repertoire of stick figures and cartoon characters, they lend themselves more to humor than to tragedy.

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

If you make a street poster and literally paste it on the street in a city like New York, where it's such a mixed population and so densely populated, and it stays up for a full week and doesn't get covered up by something else or pulled down, you will have fifty thousand people who will have seen it. It will be the poorest of the poor - some homeless man who lives on the street will see it and probably appreciate it, or some businessman or landlord will see it. Everyone will see it. And whether or not they even realize that they saw it, on some level it's affecting their consciousness.

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.

I'm accustomed to just working by myself, alone in the room and cranking up the music and just working and getting all into an obsessive state where I'm focused on this thing, and it's the one thing that I feel like I may have a little bit of control over in my life.