How do you maintain the subversive nature of street art when working on legal walls and canvas?
I love painting in the street the most. There’s no way of duplicating the emotions of painting in the street, doing graffiti, looking out over your shoulder for police. It’s more of a rush, it’s fun. But for your work to be truly enjoyed and for it to last, you have to do canvas work. I think it’s important, because that’s how your legacy lives on. With graffiti, one day the building will be knocked down, or the painting painted over, but the canvas that I’ve created in my studio, that’ll live on forever in museums and galleries, people’s homes. It’s a way of preserving your work after you’re gone.
Tell us about the pieces you’re showing at FLANNELS London.
I couldn’t be happier with what’s here because I think it fits exactly with the vibe and the energy of the store. There are some of my Hermès bags, a crocodile Kelly and an orange Hermès Birkin that I painted. I think they’re the perfect fit for this store because there are some epic, unique pieces here. I’ve created them as pieces of art, they’re a sculptural work, although there are some crazy collectors that wear them. It’s cool. There are also some of my stock certificates that I paint with markers, like drawings. The canvas is one of my favourite pieces that I created recently. It’s a graduation from my other styles. Instead of a portrait of Mr Monopoly, it’s a scene. It gives you that Richie Rich, childish, comic book vibe, where it’s fun, with bright colours. There’s the Rich mansion, and they’re taking all of their cash from their house and depositing it in the bank, into this crazy armed safe. We have some sculptures of mine here too, including the large Richie Rich sculpture. They’re resin casted, with electro-chrome plating. It’s the same process you’d do to electro-chrome plate your cars, rims and bumpers, so it has that really shiny, untouchable feel.