“I never go to the openings of my shows, and I don’t read chat rooms or go on MySpace. All I know about what people think of my gear is what a couple of my friends tell me, and one of them always wants to borrow money, so I’m not sure how reliable he is.”
“I stenciled the door of an electrical block in south London and recently someone sawed it off and sold it at a famous auction house for £24,000, but in that same week Islington council power sprayed off eight of my new stencils on one road. What I’m finding is art is worth whatever someone is willing to pay for it, or willing to pay to not have to look at it.”
“The Israeli government makes a big fuss about how they own the wall, despite building it right through the farmland of Palestinians who have been there for generations, so the Palestinian border police don’t give a shit if you paint it or not. They parked between the road and us, gave us water, and just watched. It’s probably the only time I’m ever going to paint whilst being covered by a cop from a roof-mounted submachine gun.
I have sympathy for both sides in that conflict, and I did receive quite a bit of support from regular Israelis, but if the Israeli government had known we were going over there to do a sustained painting attack on their wall, there’s no way that we’d have been tolerated. They’re very paranoid. They don’t want the wall to be an issue in the West. On the Israeli side of the wall they bank it up with soil and plant flowers so you don’t even know its there. On the Palestinian side it’s just a fucking huge mass of concrete.”
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