It can be difficult to mediate a compromise between what I have in my head and what the musician has in mind, which is often 180° different when it comes to the finished product, so it requires that element of trust from somewhere. The point I make to them is "You've seen what I do, so just trust me and we will come up with something exciting."

Give your stuff away and if it's good, people will come to you.

I take myself seriously and want my image to me more than just something aesthetically suited towards selling records.

Drawing from art history and mythology allows me to connect with viewers in a familiar, yet loose visual framework. Blending disparate histories and themes can give the overall presentation a recognizable, yet unique flavor.

When I was really young, I gravitated towards the visual arts first. I feel that's what comes most naturally to me. I've always had an immediate proclivity towards making visual art and I was a really tactile kid.

It's important for me to have different tiers of value for the art. Some of the silk-screens are really affordable, but I do have some high-end silk-screens that are several color layers and a little more expensive, and then I have the paintings that can get way up there.

I tend to over extend myself without really thinking throughthe realities of completing so many projects in a year, which generally means I'm going to be a little bit behind. I suppose that's the nature of the beast.