“I draw people with giant holes in their faces because I have no idea what people think.” Let’s talk about this crazy huge studio that you have in the 50th floor of the 3 World Trade Center. How did you manage to get the entire space?

Two years ago, I had a street art project with them in the building. They had these tall windows and back then I was doing more sticker installations over mural, so I wrapped the windows with vinyl. It was crazy, I spent my entire summer in that building. The building managers didn’t want to make it the development super corporate. They loved my installation and told me that I can have a residency here on the 50th floor. Dara McQuillan, he’s the voice and face of the World Trade Center and marketing officer for Silverstein property who owns the building. He’s my angel and really supportive of me. Silverstein supported artists for a long time and helped out artists who lost their families from 9/11 actually.

I’m a woman, its easy to draw because I always draw something very close to me. I like monsters and weird creatures and I just draw a woman because I’m a woman. I don’t have specific references, you know, it’s just myself and whatever I feel. Also, whatever I think is funny and weird like personal fears. Let’s say like a personal fear of long black hair or strawberries, something like that. I’m also interested in black little holes because you never know what’s behind them.

Yeah, I’m really scared of tiny ones. I draw people with giant holes in their faces because I have no idea what people think. In my works, I try to invoke my own personal fears or interests to a particular object or human. It’s pretty much humans. And, every two or three years I change my materials because my interest to other mediums is always growing. I started with vinyl stickers then acrylic and now water-based spray paint. I was inspired by a friend who has a good command of regular acrylic spraypaint. My friend is good in making clean lines with the tool, but I’m super clumsy and not at all interested in clean lines anyway. I prefer effortless and clumsy lines over fine lines. There’s a Japanese term called Heta-Uma. Heta means bad, but Uma means good. So my clumsy lines may look really bad, but somehow it’s actually good.