Art & Desgin "I personally prefer to make monochromatic doodles because the most important thing to me is the lines and the making of the world, rather than adding colour to that world." that he refers to it in his Modus Productions documentary-biopic as “a growing, drawing virus” which spreads and eats up all the white spaces available to him. Fascinated by his ingenue and approach to expression, we sat down with Mr. Doodle to learn more about the development of his work and the story behind the Mr. Doodle universe. Is there a period of history, cultural movement, or era in art that informs or inspires your work? I wouldn’t say there is anything in particular. I loved the video games and cartoons I watched that were around during the time I was three years old and after. So, pop culture from the late 90s to early 00s were hugely impactful to my work. I also like hieroglyphics and Mayan art. I think there is definitely a link to my work there. I like single mark-making with no tones or layers. To whom does your artwork speak? What does it say? Are there any interpretations you hope an audience can con-trive from your work? I hope my artwork speaks to everyone. I don’t want it to say so much as it should just make people feel happy when they look at the charac-ters. There are sometimes hidden things but I steer away from heavy issues because I want my work to be away from the troubles of life. Your recent work looks very similar to Keith Haring’s work. Is he an artist that inspires you? Do you feel your bodies of work are similar or reminiscent of one another? How do you feel about the colorful take on doodling in 24 Haring’s portfolio, versus your own monochromatism? I think Keith Haring was a great artist and it is nice to hear you can see links in my work. However, my work is inspired by Doodleworld -that's what I look to express and share in my doodles -rather than someone else's vision. I personally prefer to make monochromatic doodles because the most important thing to me is the lines and the making of the world, rather than adding colour to that world. Can you speak to the challenges of doodling on 3D struc-tures? How much does your work change when it exists on other surfaces besides paper? How much do the corners of walls and curvature of furniture limit what you do? 3D can be tricky but it is a fun challenge. The doodles sometimes have to be compromised if they’re in a corner or on a ceiling or dif-ficult surface. You quickly learn what is most important about the doodle that needs to be made and have to make decisions within the limitations, by trimming down details and sticking to what makes characters and doodles recognisable. What would be your dream doodle? If you could make your mark on any building, see your doodles worn by any per-son, or incorporated in any place – what would that be? I would want to doodle over a whole town. With cars, pavements, roads and whole buildings covered in doodles. I'd love to doodle a whole London underground station, from floor to ceiling, that would be awesome.