Hi, this is Kaws, and you're watching Complex. You know, as an artist, having your work at the VMAs and sort of being able to reach people on that scale is great. When I'm making work, I'm always thinking about communication. The transition with my work from, you know, early on doing graph and to getting into toys and sculpture has just sort of been a natural thing that I could have never really planned for. It's crazy to see your work sort of translate into these other forms. Basically, if you can sculpt small, you can sculpt big; the technology today is amazing, and it lets you realize these projects that are just surreal. With seeing the mech heads and the schematics and knowing the sizes, and then you walk into the room and it's still sort of like the presence is... you couldn't imagine it. I was so happy. You know I've never worked in anything where we printed graphically a balloon, so the way it translates, especially on camera, is like this massive chrome image. It's amazing. I was concerned about, you know, the different musicians, and kinda screwing up their symmetry of their... their shelf, like the musician who has like 20 of these, you know then suddenly there's this one oddball sticking out. And they can hide it if they want to. Companion, I think, is up for a lot of things that people just don't expect from him. Just the VMAs, he likes the opportunity, even though he doesn't admit it.
On Thursday, we got a sneak peek of KAWS' stage design for the MTV VMAs this weekend, including a 60-foot inflatable version of the all new Moonman. After the unveiling of KAWS' enormous set piece at the Barclays Center, we asked KAWS a few questions about creating art for the VMAs.