As a young kid I was always drawing and making things with oak tag paper and magic markers. I don't think anyone would say I had any talent for drawing, but I was lucky enough to be surrounded by supportive adults, some artists some not at all. I guess if there was anything I was good at, it was ceramics. I started doing that when I was very little and I have kept my hands in as best as I can since then. I started writing graffiti in high school, somewhere around 1991. I had no idea what I was doing because I did not know any one who was a serious writer. When I got my copy of Subway Art and my first graffiti magazines I started to figure out some of what graffiti was about. At that time I was getting good at ceramics so that held my attention better than graffiti. I quit writing for the whole year of 1994. I really missed it then, especially seeing I was in New York City for a lot of that year. I decided it was time to finish what I had started so I began to piece and bomb again.

At this point I was still painting normal, traditional pieces. Soon I realized that was silly. You can't be anyone but yourself and be happy, so if you're a real weirdo and you're holding it in behind pieces that look like everyone else's, something's got to give. I began my bolted signs project in 1996 and things got a lot better from there. I learned a lot about playing with different media and I had a lot of fun. The signs were seen more than I had expected and they where appreciated by people other than writers and Graffiti sympathizers. I liked that. Still, if you want to be a serious graffiti writer, you have to draw letters. Letters are what unite the culture and if you go away from that, you take from the culture with out giving back. So I hung up the signs project and tried to figure out a better way to piece.

Around this time I went to Australia. I met up with some very good writers there and they were all quite encouraging. I really was able to whack out and get more creative than I ever had before, just like how musicians and comedians try out new material on the road. I also had the opportunity to paint more quality, time-consuming pieces than I ever had before. I began to get comfortable with my letters and develop a style in a way I never had before.

Right after Australia, In December of 1997, I went to Sao Paulo, Brazil, and met up with Os Gemeos. They and the city of Sao Paulo completely changed how I viewed graffiti. Their integrity and creative energy, along with the completely amazing city of Sao Paulo, Totally blew my mind. I was just Knocked silly. It took a while to put my conception of art and graffiti back together in a way that made sense. What the Brazil trip showed me in essence was about heart and soul. Even the graffiti that sucked in Brazil had meaning. The meaning and spirit was what so much of the graffiti in the world lacked, in my perception. The first time I went to Brazil, I was so overwhelmed by the Gemeos and the city I could barely paint. I went back a year later to match the wits of Gemeos a bit better than I had the year before. The magic was still there and it was still wonderful.

In between Brazil trips I had a few other travel bits and pieces, including one to central America. I painted a kindergarten out in the rain forest there. This definitely rekindled my love of painting in unexpected and deliberately out-of-the-way spots. The other main development for me that year was I began to do studio work again seriously, and I found that to be a great way to develop style and content. Currently I'm working on a childrens' book which is a bigger undertaking than I had expected. I'm also trying to paint outdoors as much as possible and travel when I can.