My name's D-Face. I could be in Stockton, you're watching Off the Wall. I guess the influence of American culture on my work stands back from me as a kid. I grew up heavily influenced by skateboarding. It's taken my life as a teenager. And Graffiti as a kid growing up in London. Seeing Graffiti around, there wasn't really any books on magazines and the only two books that were with Subway Art and Spray Dan Art. And you know, when you see those books and it's very much New York's entry, you can't help but it'd be influenced and be like, I want to be there, I want to be in New Yorker. In London, it's a million miles from this place. You know, my parents didn't have a whole bunch of money. Going to America was never an option. Going to New York was certainly not an option. So I just dreamt of looking at the magazines, looking at thrasher. There's always a significance for an artist having a first show in New York City. It's a big deal. New York City is the international art market. And I like to think that we've created a platform here for artists that they get a lot of attention. It gives them a certain level of legitimacy that they don't get otherwise. New York's got the strongest art market in the world. And it's an important place for artists to show. Hopefully what it does for D-Face is that it opens them up to a much larger and broader audience. The show isn't just about hanging pieces on the walls. It's about bringing something to the house by side. The work you do in the street, it has impact because it's in the street. You probably shouldn't be there and if it is it, it has a punch to it. And it's important to me that when you come to the gallery, I try and bring the same effect or punch to it. So you have to see it because I want you to experience it in the flesh, in the space, for that duration. Otherwise, you might as well just post pictures on the internet. The idea of the swirl is sucking the paintings off the wall and actually into a look tiny eyeball. It's in the middle of the floor which is essentially what this whole concept is about. It's about this, probably what work is about this, it's about you dragging these colours and these images into your consciousness, into your mind. The concept is about our society being constantly saturated with visual pollution in the forms of advertising. If you live in the city, it's pretty much part of your life. How much of that information we actually store and keep, if any. And what do we do with that? And the appetite for this constant turnover of images. And so this is essentially like an assemblage of my lifetime journey. The double title is all your dreams belong to us because whether your dreams come from, they come from the things that are around you with so much visual pollution around you, so much advertising. Do your dreams belong to you or are they actually given to you by the marketing, the advertising? Are they your dreams? They're not really all, they're dreams that you're told. The shatters we planted, they were in a really cool air, not cool as in trendy but like a traditional, a traditional New York area. We had various things planned so we had the colonel's eyes and had a skeleton mouth. And it had various bits of text that were pretty planned. And really it was just very on the moment that actually has this going to come out. People were just rolling by and it was just saying, oh shit, it's SpongeBob, oh shit dude, you have access to colonel's eyes. Everybody was fanking us for doing it which is very uncommon in England and London if you're a patronage. That's most people were like, you can't do that, what you're doing. And it was really hot, actually really hot warming, but they'd see it in a way that was like brightening up their community as opposed to like what the fuck are you doing and making this place look horrible, which is how most people view public art or certain anything using spray can people. It's generally turned off to these people were very welcoming. Each joke ties into a Sponge's a thought, you know, and it may just be one little nugget. And this is starting to be spawning lots of ideas about how the intersection of images works and how you can tie the space in together with painting the floors or painting the walls. I would definitely explore the idea of interaction and layering and levels. I think these can have multiple multiple layers which could be done in numerous ways. That's kind of like the beginnings of the next show. This about the space is about physicality, so I'd like to do more people interacting within the space.