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.

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.

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.

Poster art was always my way of being involved in the conversation. So it wasn't just a one-way conversation with the police yelling at us or freaking us out. Street posters allowed you to have the last word.

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.

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.

As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.