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.

In fact, many musicians are the happiest when the artist and audience re-interpret or re-imagine the content of the songs.

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."

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.

Not everybody is going to love what you do, but you have to be yourself, that's what's most important. Bring it as hard as you can.

If what you want to do is make artwork for bands, you have to love doing it because there is almost no money in it. In order to start doing it, you just have to put yourself out there, work for bands you love and for as little as possible to start, if not free, that's what I did for years.

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.