UV: How is the spiritual iconography in your painting affected by contemporary culture?
MI: My work is that bridge. Those intimate initiations between ghetto galaxies to indigenious industries. I feel within every culture we go though certain lessons in Life that evolve within us. There are certain paths we choose to follow, whether it's polygenesis or monogenesis, the introduction to us is the world around us. And we are all affected by IT.

UV: There's something really sexy about your paintings ... care to comment?
MI: Well, when composing these orchestrated feelings, one does have the tendency to emcompass all emotions: Love, Hate, Dreams, Life, Work, Play, Friendships, and yes, of course, ... Sex.

UV: How do you choose your materials?
MI: They kinda choose me. I was an ex-grafitti writer for a decade, then went to art school, and later became broke. Therefore, the mediums I choose concure with the feeling within that moment.

UV: How do you perceive your works as objects in the world? Do you consider you works to have "auras" ?
MI: I feel my work is more like altars in one sense, or even dieties in another. But to the world, I would like to leave them as monuments. Monuments for my children, family, and those who are gone. As far as the energy contained within this work, the only aura I can feel is theirs.

UV: Who's your favorite Superhero?
MI: MAJOR MOTOKO KUSANAGI: Security Police Section 9 from the Japanese animation movie: "Ghost in the Shell."