EM: What is your opinion about art schools. Do you feel that it creates structure for them or that it limits the creative expression of one's vision?

F: Schools (which I never went to) should be exploited for everything they can offer. The physical tools they provide, resources and technologies must be maximized. This approach assumes the individual is (already) creatively motivated and doesn't need direction which would cancel my ability to speak for those who do not. 

The (mode/model/mold) I have created doesn't fit anyone else, that's the beauty of (it) and them all. These questions/answers must be confronted on a person to person basis. 

What is the desire? The love? The hunger of/in each one of us? 

That is what is most important. 

No one should ever limit themselves or let others dictate what limitations should be. 

EM: You regard Phase II as a pioneer in lettering and spray-painting techniques. What was it in particular that made him a source of inspiration?

F: For me (Phase II) just represents the (style) of my generation, past and present. As a (writer), as a (lyricist), as a (painter), as a (historian), as a (sculptor), among the huge talent pool that is the history of NYC graffiti, he still may be atop the food chain. 

EM: You have an immense following in Japan. The general public seems to be very perceptive to your art. What are your thoughts on Japan in regards to street culture.

F: Everyone should spend 15 days in Japan. But then that's easy for me to say, I love it there! It's like my (other) life but I really love the juxtaposition of it all. The "internationally unknown" aspect of the mythology…I could stand at 42nd street and Broadway for 24 hours and never get noticed let alone, approached. But I couldn't last 24 minutes at Shibuya crossing without numerous photo and/or signature opportunities (bowing) arigato. 

EM: Surely you must have some interesting stories while painting. Would you care to share some with us?

F: Well there was this other one time when Dondi, Zephyr, and myself were painting in Hong Kong. It was a vast office complex that was being renovated and we were invited over and asked to (decorate) the unfinished walls as they were doing construction and installing the electrical and plumbing fixtures. With all the activity going on around us, a major crew and huge fans dispersing aerosol fumes throughout the space, we took a break for the first class catering and champagne pouring which celebrated our arrival as "world famous graffiti artists," complete with local television media coverage. We often looked back and thought, how out of context that entire trip was, but in retrospect one of my all time favorites. Maybe it was the first glimpse of things to come? ‘Cause what we were doing certainly wasn't (graffiti) even though we "replicated the atmosphere." 




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