Street artists need to get back to actually doing things on the streets instead of in the galleries where they all seem to be ending up. I hope this term 'street artist' falls from the face of the earth, in my honest opinion.
My artwork gets stolen all the time; it's ridiculous.
I wasn't trying to turn graffiti into an art form. I just wanted to learn about art. I wanted to learn this game.
I just try to get away with as much as I can. I don't think that's very radical in the art world.
I have tons of art books. I have them all over the place. They are in my car, in my bag, and in my studio. There are books around me all the time.
I like the idea that you can paint something outdoors, and anyone can see it. It's open to anyone, and people have to deal with it. In the gallery, it's the same 150 people on the San Francisco art scene. There's a dynamic on the street that's definitely more interesting.
I love graffiti because it enables kids from every social extraction to do something that brings them closer to art, when they normally wouldn't be stimulated to be visually creative. Graffiti helps to develop an awareness of immediate expressive and uncontrolled freedom.
I'm really into California art from the '60s.
I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. Its the most radical thing.
Drawings, paintings, and sculptures. That's the three pillars of art academia.
I'm really into California art from the '60s. I like a lot of Bay Area artists, like Nathan Oliveira and Bruce Conner.
I love biographies. I read Patti Smith's 'Just Kids.' I'm into that time frame in New York, the '70s and '80s. In art school, I read 'Close to the Knives,' the autobiography of the artist and AIDS activist David Wojnarowicz.
As soon as street art got popular, I was just like, 'I'm out of here.'