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.

When I was in my early twenties I was doing tenant organizing - rent strikes, specifically - in my building. I think that was how I started doing poster art. It was something very concrete.

Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly.

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

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.

We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.

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.