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.

There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.

Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.

There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

Art grabs people by their eyeballs, it seduces them. Especially if the picture is very beautiful or very sexy or just really weird, if it has some surreal element in it.

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.

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.