Tell us a little about growing up in Borneo – what are your memories and how close do you feel to it Very cool indeed. I lived there for about three years, but they were the most important years of my life, and as I was old enough to take it all in, I remember it like it was yesterday - hanging out with the village kids and the vast jungle next door with all its stories of headhunters to freak me out. What with the animals, the life, untamed nature and the adventures with my brothers, I became a little wild, - which is why hip-Hop interested me too, - it had adventure written all over it. How did you react to the UK cityscape It was wonderful to see London for the first time when I was old enough to really get it. BUSY. But the most impressive city I first clapped my eyes on was Singapore’s skyline in 79, just so clean. In a funny way I could compare it to life-sized Lego. I still have to get myself to the US, never been; and then I’ll be shocked again, then Japan and China - Sao Paulo, so many cities to see.
How did graffiti start to enter your consciousness Hanging out with friends as the Hip-Hop scene was breaking out - it was incredible to try out the elements, the Dance the Music or the Art. I steadily gravitated to the art side of the culture and both Beat Street and Subway Art were my first insights. How much of an outsider were you when you started I was a day dreamer, but not an outsider everyone was getting into the Hip-Hop scene which by its nature brought kids together. My brother FIRESTUSS, friends MARTY, PAC, GANJA, HASH, that was our group / crew
How did you start to evolve your writing style My early work was traditional graff until I went a bit quiet in the mid- nineties. But when I started writing again in early 2000, I guess I