There’s so much movement and kinetic energy in your work, with two-dimensional surfaces even seemingly vibrating. Could this be you transferring this nomadic upbringing in some way?

Yeah, I think so. In some ways there’s a nomadic, global quality to [my work]. There’s something kind of democratic about it as well, with a lot of the scenes very peopled in general. [My work] is not specific to one subculture. It’s very multi-racial, with a mix of colors and people in some of the scenes.

Well you’ve absorbed all of these disparate cultures and influences…

I kind of consider myself a cultural sieve, taking in culture…whether it’s by the computer, in my experience talking to you, through my own intuition, or my subconscious…I’m thinking of myself as a human being in the 21st century — which is a strange enough thing as it is — and processing all of these things we’re going through.

And then trying to negotiate all of it through a medium?

Yeah. I’m trying to tune into the greater picture of the world, in a sense, but what I’m translating is out of harmony, in a weird way. [Chuckles]