As artists, we want attention, we want exposure, and I think it's more of a
communicational tool. You know, I like to use the public, I like to use a street
approach. I've been always a solo artist, I've always tried to isolate myself, and
they say the art, that it takes you as far as it can go. You know, and kind of
find new mediums within architecture, actually bringing a voice to the public.
Well, I started off with graffiti material, you know, just hanging out. You
could take a can, you're out partying, you see a wall, you might want to show a
message. You know, like-head loves, you know, it's because it's three words, and love, the
word love is involved with it. You know, it's more of a competitive outlet. We
need to reinvent ourselves.
So the first mannequins I found were actually fiber, they were made out of
fiberglass, and they were coming from the streets, right in front of the
product store. After dark, they tend to throw out, and the mannequins slowly came
through my series, just my observations, and my daily routine.
New York's a very big space, big space. You know, it's the cavities, you know, in the
museum that's gonna make the art for you. I mean, there's galleries all around
this neighborhood. You know, you could go, you don't really have to be in the
gallery today. You could just be in the street, and people see a whole market.
You know, I sort of grow with the art now, just from the conversations, and
the beauty that surrounds the whole image. You have a package, it's
more about the art, it's more about the communication. Art is
inherited to us. It's a charity, it's a whole environmental center. I think art
will always exist. It'll always be in our life for eternity. It's the artist's job
to find its audience. We don't want to be a van Gogh. We don't want to be an
apollon. You want to live for today.
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