The time of getting fame for your name on its own is over. Artwork that is only about wanting to be famous will never make you famous. Any fame is a by-product of making something that means something. My work, like an urban system, is a system capable of change and transformation, grounded by rules but mysterious within these guidelines. It is inspired by forms and meanings that are rearranged, mutated, altered, re-distributed, metamorphosed, and restructured. It is committed to process: the process of investigating urban elements, the process of working with material, the process of creating forms and compositions, and the artistic process of maker to viewer. As an artist, I am a re-arranger of meanings. What identifies the work is the courage and full powers of self-transformation. That courage, meaning not being afraid to fail, transforms paralyzingly self-conscious predicaments of culture into confident ecstasies of cultures recombined, transforming self and heritage into something new and named. The work itself exhibits characteristics of graffiti, and the resemblance is largely based upon the fact that textual elements are employed in the work, childlike elements, described as raw, frenzied assemblages of crudely drawn figures, symbols like arrows, grids and crowns, and recurring words such as meaningless words in bold, vibrant colours. Bringing graffiti inside, making the urban paint work in any site and not merely on a specific one. The work relies in wildstyle changes, it relies on the use of primary colors, fading, foreground and background. The repetition of both linear aspects and forms in my compositions works to create layers. The linkages between physical elements and the layering of conceptual components give the viewer a sense of transformation and change over time. These patterns are a series of elements which creates an invented language. Through these gestures, intense meanings and movement become evident, making the paintings more narrative in what they are made to say, while the nature of the urban elements are essential to the conversations between one another, it is the composition and layout of all these parts which dictates how these pieces interact. Deciding the components is another vital aspect of the process, it is a discussion between the elements of lines, shapes, and colors; conversing in the language of transformation, movement, and urban meanings. These images look vivid and sharp at first sight, and though from time to time they could bring off an intriguing passage of spiky marks or a brisk clash of blaring color, the work quickly settles into the urban landscape, full of plastic force and conceptual interest. It is not a spontaneous activity like tagging in the form of fancy scribble. The completion of a piece or a production involves a great deal of imagination, planning, and effort. The viewer is conditioned to accept art works as art only if they are created in a traditional manner, to appreciate art works that originate and develop outside of these constraints is quite the opposite, it is an innovative and truly original art form that is meant to bring aesthetic pleasure.