The way I make art - the way a lot of people make art - is as an extension of language and communication, where references are incredibly important.

When you walk down the street and see something in a crazy spot, there's something powerful about that. The street will always be an important part of getting art out there for me.

The problem with copyright enforcement is that when the parameters aren't incredibly well defined, it means big corporations, who have deeper pockets and better lawyers, can bully people.

For me, there has always been a disconnect with the sort of elitist structure of the high-art world - and my distaste for that is at odds with my feeling that art should aspire to do great things.

I admire Ai Weiwei for his art and his activism. His art is beautiful in form, and in function embodies the principles of populism and social consciousness I aspire to in my own practice.

Propaganda has a negative connotation, which it partially deserves, but I think there is some propaganda that is very positive. I feel that if you can do something that gets people's attention, then maybe they'll go and find out more about the person.