Puppets and dolls are the gateways between human beings and objects. There are tons of cliches to spout about puppetry and animism, the primacy of the object, attacking anthropocentric worldviews, etc, and while there were always puppets around, I started working with them to deal with the times I knew I wouldn't be able to collaborate with other humans, to have a team.

I do what I do because it seems to be critically missing in the world and I want to see it not-happen.

Most of the things are either not communicable through human expression or they're top secret. Also I'm working on being a better person, and becoming more disciplined.

Everyone should be able to make art about ideas without getting cornered into self-art.

I’m not doing anything wrong, I’m not obstructing anyone’s access. When I have a crowd I make sure that the crowd makes room for people. I’m an artist who cares about the cultural fabric of New York City. I care about New York as a harbor for street culture - and I care about street culture as a base-level populist diffusion of ideas. And I believe in making those ideas accessible to everyone.

Puppets and dolls are the gateways between human beings and objects. There are tons of cliches to spout about puppetry and animism, the primacy of the object, attacking anthropocentric worldviews, etc, and while there were always puppets around, I started working with them to deal with the times I knew I wouldn't be able to collaborate with other humans, to have a team.

[Do you know] how it feels to be a clownish character? It's always complicated to imagine conveying yourself outside of your body. Inside myself I feel like this rich, complicated thing, and then I see representations of myself, especially in the media - and I think this is why it's troubling for me, because I feel so caricatured and flattened.