“By the time I had ran 10 yards I turn round to see what resembled a sort of zombie slow motion rugby match, there must have been at least 10 clay’s inside the train waiting to jump out, by some miracle we all made it past them and into a bush, out the other side and into the cars.”

So give us a little intro to yourself:

Writing 10 years plus, need a job, drink too much coffee.

Which artists or crew’s has had most influence on you and your art?

More so my close friends rather than crews or anything like that. It was always quite a close nit thing, seeing the progression of my mates and just wanting to keep up. When you start out a lot of your initial style comes from workin’ under pressure, having to produce stuff real quick and also to do something readable, that was a major factor. I Wanted cats to be able to see that shit clearly. I guess that was a good basis for developing a style. Too much nowadays you see kids who want to be the most wild style writers after one week, you have to realise this shit take time and patience. But as for crews or writers PFB, DFM and early DDS stuff was the shit, lookin’ at elk’s stuff from the train with my dad when I was like 9 or 10 years old. Also people like skore, astek and insa. That kind of wild 3-d stuff always gets me goin’. There are a lot of other influences though, all Northampton and MK heads showed me a lot about bombing, basically everyone that I’ve painted with.

You’ve been repping for a long time, how difficult is it to get recognition? Is that what your in it for?

I got into it through a mate, (you know who you are!) but it was really innocent to be honest, we were just board kids sick of drinkin’ cider in the park. But as you get older and realise that people start to give you a bit of a second look cause of what you’ve achieved you start to get the old “I’m gonna conquer the world!!!” shit. But I think we all know its rubbish really, there are some proper talented artists out there who don’t even get a look, so now I’m just trying to be true to myself and do what I feel like doin’.

What’s your next project/idea/piece going to be?

Stay posted on that one, got a little something in the pipelines, so to speak. All I should say is that it doesn’t involve running away from Mr plod, bit old for that now. Ha, ha!!! But it’s gwan to be heavy.

Graff is relatively unknown to the average dude on the street, yet we see examples of it everywhere we go. Is there a thriving Graff culture in Britain?

Yeah it’s sick at the moment, it’s good to see crews makin’ strong links aboard too, like that whole N.T. thing. I think as far as writers adapting their style to be able to make a livin’ off it, Britain is at the forefront. There is so much stuff to see here, any major city seems to have a scene, Birmingham, Bristol, but even smaller towns have got their shit locked. I mean for god’s sake Oxford’s not exactly New York is it, but there have been a fair few writers who start there, and move on to bigger and better things. I think that’s the case for a lot of small, out the way places in Britain, you no longer have to be “London”.

What’s the best piece/story you can tell us about?

Oh dear, that one probably has to be the time we were doin’ some panels with about 7 other writers in what is usually a chilled yard. I was on the end, and had almost finished up, when I see a face lookin’ back at me from inside the train. Now the lights were off inside so it took me a second to realise what I was lookin’ at wasn’t my own reflection, cue the slow motion vision. By the time I had ran 10 yards I turn round to see what resembled a sort of zombie slow motion rugby match, there must have been at least 10 clay’s inside the train waiting to jump out, by some miracle we all made it past them and into a bush, out the other side and into the cars. Now this was about 4 in the morning so we got home and thought it might be a good idea to go back in a bit to catch the train leavin’. So we found a little spot on a bridge further up the line and waited. Sure enough train pulled into the station and you could see all the workers screwin’ hard. It left a bit late but passed right underneath us, we all jump up snapping away getting flicks as the driver spots us and starts to wave his fist out the window in disgrace. Made for some funny flicks though, oh and it was on my birthday so we were all swiggin’ Moet like puff fuckin’ daddy. Ha! But I don’t do that shit know more, get me.

Where can we see some of your shizzle?

Dunno? On road.

And finally young man, any shout outs?

Big up to everyone who knows me, don’t want to name names. Oh all the Germans too.