Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.

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.

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.

Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.

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 poster art over the years, art with social critique in it, has always been trying to make that point - that we are larger than they are.