Eliza Doolittle Quotes

After pop art, graffiti is probably the biggest art movement in recent history to have such an impact on culture.

I'd much rather go to a Banksy art show than a Moby art show. My art is painfully naive.

Many people decorate their homes with designer graffiti, even though most of them would probably have real graffiti scoured off the walls of their buildings.

I didn't start doing graffiti until two years after I got to New York. Jean Michel Basquiat was one of my main inspirations for doing graffiti. For a year I didn't know who Jean Michel was, but I knew his work.

The type of work I do, which is often called 'Pop Surrealism,' is very separate from Gagosian and Mary Boone type of gallery art.

I'm a Banksy fan. I'm also a fan of Chris Hobe, Mister Totem, Drew Wootten, Mad Clout, Hense and Sever, in visual and street art. And Jonathan Mannion and Shane Nash in photography.

I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.

For me, graffiti writers were always the fascinating eccentrics of hip-hop culture. What they do is secretive by definition, and not remunerative in any way.

I started off as a graffiti artist in the South Bronx. My tag name was 'Loco' because I would go crazy and tag anywhere I wanted, in the weirdest places.

Graffiti writers were the most interesting people in hip hop. They were the mad scientists, the mad geniuses, the weird ones.

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.

I have a company that does design and animation, so obviously graffiti is definitely an intricate part of what we admire and respect in the art world.

Graffiti is linear, and it's done with a pencil, and it's like writing on walls.

I started painting graffiti in the classic New York style of big letters and characters but I was never very good at it.

In 2009, I began creating 'Waterworks' with the new vernacular coming from the 'Signs of Life' work in Las Vegas.

I'm not interested in pop art.

As soon as street art got popular, I was just like, 'I'm out of here.'

I've got a nice collection of paintings - a Basquiat, a black-and-white Warhol that's like a Rorschach test, and I commissioned Takashi Murakami to do a ten-foot joint for me. It's almost like the explosion in Hiroshima with his famous skeleton head. There's a wall above my fireplace reserved for it.

The best art is on the street.

Street art belongs on the street. But I'm a working street artist and I earn my money selling art in the style of street art via galleries.

I'm hoping that Abu Dhabi's first piece of street art will inspire the next generation of artists the same way that the discovery of subway art inspired me all those years ago.

A friend of mine back in 1989 did an illegal rave in Vauxhall. He got Keith Haring to come along and tag the side of the wall. My friend cut it out of the wall and he kept it under his bed for 20 years. Then a few years ago he asks me if I want to buy it... so I spent £12,000 on a Keith Haring.

I come from a school of artists, the Mission School in San Francisco, and there are a lot of artists I look up to.

In certain places around the world, street art is widely accepted and it is part of the urban environment.

One of the interesting things about skateboarding and graffiti is that skateboarding exists in the documentation of an act.