 I'll get a high off of just freaking people out. You have to figure out other ways to make strong art. How do you create something that's also new? I'm always thinking of how to do something a different way. Breathe too soon. Be fit a little. And I love you. Stay here. Yeah. I just hate talking. I mean, I like talking. I just hate talking about myself. Normally, I would overthink these kind of things. But that's what I think I like about it, is that since Cali's come here, I feel like we don't overthink anything. Have you ever, like, fucked your skin up with that stuff? There's probably some sort of damage that could happen. I've never really gone, like, bare-handed to it, but when it gets on your hands, it feels like you can't get it off, you know? It's hard, though, explaining to people, like, oh, what do you do? And then you're like, oh, it's baseball bats, and they kind of just look at you like, good, you know? And then you show them and they're like, oh, that's really, I've never seen that. The thing that I'm ultimately going for, it's like you have to figure out other ways to make sort of powerful, strong art. I could do a six-by-six painting that would have the same feeling as a baseball bat that's much smaller. I think that's what's great, is this small package item that has a lot to it. I mean, there's always just, like, a preconceived feeling from it, no matter what. You know, just even holding it, you're like, oh, I feel this. And maybe it's even like, maybe there's even, like, everyone's in Little League kind of feeling from it, but there's a certain amount of danger and option for violence with it, you know? And so I think hearing any sort of sort of suggestion that somebody gives me, like, oh, it should be, you ever think about this? You ever use this to beat somebody with? Like, you know, it's, oh yeah, I hung all these up on the gallery wall because I spent a day beating somebody with it. Yeah, yeah. Give me a mag like. Right, and that's when I become, like, you know, it's like, I'm just like the guy at the mall. I mean, I always think of it as an art, but I would say it's like a blue collar artist. I mean, it's not that I say I'm, like, I think of myself as a blue collar artist, but if I don't get severely tired from doing it or dirty or my hands ruined and stuff like that, then I don't think I'm really doing the work. Art is obviously such a hard thing on your head, but then I also just like the tiring work ethic, like, you know, being a welder, being a motorcycle builder or anything. I start off like going, this has to be perfect, and then I can sort of keep messing up or mess up to a certain extent and kind of step back and go, well, this is also part of making something realistic, you know, by the time it's done, it's probably like 85% of what I want or if not more, I could get a robot to make these and it would be perfect, but that would kind of like lose something, so if there's any sort of mistakes or anything, it definitely feels better to me. Like, that's why I think I even start with vintage bats. I was thinking about Vietnam lighters, and then I did all this research on it, and it was like, there were people in Vietnam who did it this way where they'd burn it in acid. I was like, oh, that's cool, and they were thought of as sort of like the knockoff ones. So then I did it on test pieces of aluminum and it burned so quickly. Once I did that, I knew I could do it on bats. Basically, I'm like, I'm always thinking of how to do something a different way. I'm making what I interpret as an art and what I interpret as flyer art and what I interpret as jewelry design, you know. It is separate, and a lot of times I try to bring aspects of it together. No matter how popular or big something becomes, you're still just a piece of shit. Whether I am able to sell in galleries or I'll just do stuff for certain people, I'm not gonna not do it. I still have to think about who I am. I think no matter what, that's the best thing you can do.