I remember opening up my first vinyl and seeing the incredible artwork it had. There's nothing like it. You also get that true gritty sound on vinyl that really makes a rock record sound great, which CDs can never achieve.
The seed of your next artwork lies embedded in the imperfections of your current piece. Such imperfections are your guides - valuable, objective, non-judgmental guides to matters you need to reconsider or develop further.
I really don't want to produce artwork that does not have meaning beyond simple decorative values. I want to use public space to create a public voice, and a public consciousness about the presence of people who are, in fact, the majority of the population but who are not represented in any visual way. By telling their stories we are giving voice to the voiceless and visualizing the whole of the American story.
People quickly look through things and don't sit and experience. That's a problem with artwork, [because] it's more of an experience than something to quickly look at. It takes a while for everything to unveil itself.
In a sense, the artwork is the most important thing in getting somebody to buy a book. The person probably won't buy a book if he doesn't like the artwork. Once you buy it for the artwork, you hope that the story will also be good.
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