Over the last couple of weeks, one name has been on the minds–and Twitter feeds–of art lovers, political commentators, and sports fans alike: Winston Tseng. The artist garnered international attention after a work of art that he designed began to appear at some bus shelters around Philly. The artwork confused some, excited others, and got everyone talking.

While Winston has been posting regularly on social media since the artwork appeared, even posting an official statement, he’s otherwise remained silent–until now. Let’s finally hear from Winston!

Streets Dept’s Conrad Benner: As of this past weekend, news of your Kamala Eagles artwork was making its rounds on national cable news channels like CNN. This, after a week of wall to wall local coverage. Is this the wildest reaction you’ve ever had to one of your installations? What are people saying to you? 

Winston Tseng: Definitely. As far as media coverage goes this has been the craziest and most widespread. My work has gone viral before, but usually it’s pretty contained to social media and only occasionally makes the news.

Friends from around the country have been telling me how they saw it or read about it. Then there were strangers reaching out to say they loved it and wanted to buy a poster, and others who clearly hated it and were really triggered.

SD: We started talking shortly after the artworks went up, but you wanted to wait a week to have, and publish, this interview. Can you talk about what this moment feels like right now? It’s so rare for a singular street artist to get this much attention, and the attention varies, so how are you handling all of this right now? 

WT: I guess it kind of feels like a carnival ride. Fun but a little sketchy… or maybe fun because it’s sketchy?

The vast majority of the attention has been on the work itself, not really directed at me, and that’s by design. I don’t put my name anywhere or credit myself on anything. I’m not trying to bring attention to myself, I’d like the attention to be on the issue or idea in the work.

So even though the internet figured out pretty quickly that it was probably me, and news outlets were reporting it was probably me, most of the focus has been on the idea of a political endorsement coming from a beloved sports team. Which was the whole point:

SD: About the artwork, what ignited this idea? Why this approach of having the Eagles appear to endorse Kamala Harris here in Philly? Were there other location organizations you were also considering? Other cities? Walk us through the birth of this idea!

WT: I came up with the idea about a year ago. Just knowing that Pennsylvania would play a major role in the election and how Philly is obsessed with the Eagles, I figured there’d be a visceral reaction to mixing sports and politics in this way. Early on, I did think about how satirical endorsements could work in a bunch of swing states with different teams, but decided to just go with the single strongest combo.

But obviously originally it wasn’t Kamala, it was going to be a “Go Biden” endorsement with a visual of Joe and Jalen Hurts doing a bro handshake, which I thought would be so absurd and funny. I still like that idea better, especially with his ties to Pennsylvania and being an Eagles fan, it would’ve had that extra layer. I can’t help but wonder if the reaction would’ve been different?

SD: Politics, and particularly these past two presidential administrations and many of the policies/problems they’ve addressed or ignored, are a running theme in your work. What’s your hope in creating the art you create? 

WT: I’m just making fun of our society with the hope that people who see my work feel some mix of surprise and amusement, and then reflect on the subject being addressed. Down the line years from now, if anyone happens to see my work, I hope it proves to be an accurate depiction of our times and gives them a sense of what it was like today.

But it’s always hard to know in the moment when I’m focusing on these issues, whether they’re really significant or not? Like in this case, I think it’s insane people will vote a certain way just because a celebrity or corporation says so. And that’s where the street art aspect comes in. Having the public experience it and react, is a way for me to confirm “yeah, this is an issue.” So in a way, the public’s reaction becomes part of the work itself and helps reflect the times.

SD: Street artists get up in countless ways, and this Kamala Eagles artwork just as easily could have been a wheatpaste, which you’ve done plenty of times. But you choose ad takeovers for this project. Why? 

WT: Well for the record I don’t know how these posters got into bus shelters, I heard that’s a crime. But theoretically speaking, I think location is a big factor, these ad spots are designed to get a lot of eyeballs so that’s always good. And they tend to be more convincing and confusing to people when it’s behind the glass. Wheatpastes are fun when the artwork is a series together or when repetition helps communicate the message.

SD: When I first saw influencers sharing the artwork, I knew immediately this was an ad takeover, but I’ve also been covering this artform for over a decade. Is part of your intent here to instill a sense of ad literacy in people? To invite people to not take the ads we see in our public space at face value? 

WT: That’s definitely part of it, to subvert this world of advertising we’re living in. But more so, I’m trying to co-opt the medium and its power to blend into our everyday yet still command our attention.

SD: Do you support Harris for President? 

WT: Yeah, I want her to win.

SD: Do you support the Eagles? 

WT: Yeah, I want them to win.

SD: Have you heard from the Eagles or Harris? Are you concerned about their reactions to this? 

WT: No I haven’t, and I appreciate that. I don’t want to fuel any more conspiracy theories, but let’s just say I’ve heard through the grapevine that maybe some people actually loved it and were thrilled with the attention.

SD: Let’s talk about your design! Ok, you have the concept, the birth of the idea. How did you land on this design? 

WT: So with the original plan of having Biden and Hurts together, I thought that contrast would work well. When things turned to Harris, I didn’t think swapping her in would be as effective. I definitely wanted the artwork to be comical, and to me putting her in a helmet and holding a football was that. I also wanted to go really heavy on the Eagles branding and use that emotional connection to my advantage. So a big Eagles helmet, prominent Eagles logo, Eagles colors, and Eagles font were all part of the hook to grab people’s attention. 

SD: Are there aspects of this project or the design that people have not yet noticed that you’re surprised they haven’t noticed? Like, was the placement of these ad takeovers strategic? Something else? 

WT: I’m surprised people don’t think artwork of a presidential candidate wearing a football helmet is as funny or absurd as I do. Like, in what world would that be approved?! 

For that matter, I’m always surprised when people actually believe my work is a real ad. I use brands and advertising as a way in and to communicate an issue, but I assume people will figure it out pretty quickly. I’m not trying to actually deceive anyone, if I was I’d make things a lot more realistic.

SD: Did anyone say anything as you were installing? Anyone notice you? 

WT: Remember, I don’t know how they were installed. But I heard people were noticing the work and stopping to take pictures right away, which is always a sign it’s resonating. I think the first person that took a photo at the first location was one of the images that went viral. So it’s funny to think that that could’ve been all it took.

SD: What do you think about ads in the public space, generally speaking? 

WT: I think they’re an eyesore and they’re being shoved down our throats way too much. And it sucks that advertising in general holds so much power. Television, social media, the whole internet runs on advertising. Influencers exist because of advertising. Election outcomes are determined by advertising. It’s very dystopian, but it’s also what fascinates and inspires me about it.

SD: Will we see more from you this election season? 

WT: Yeah, but less in the street and more in the gallery setting. Next month at Subliminal Projects, I’ll have new work in the group exhibition AMERICAN PUNCHLINE curated by Sara Lois Kaplan. It’s a timely show featuring a range of contemporary artists focused on political and social issues, so please check it out!