Started painting in 1989

Early influences: Noble, Besm, Vet, Neon, Gaze, Sub. Bronx Graffiti.

Present day influences - All my crew members and old crew photos form the 90's

Favorite colors: Gotta add some brown or grey

Q: Glancing back through the immense body of your work, it was refreshing to find that your approach to lettering is one that has remained quite consistent over the years, seemingly unaffected by popular trends. When would you say the style that is so definably EMIT was formed?

A: I think everyone is effected by popular trends… it seems hard to avoid. It's just how you process that information. I have always been a believer in the "Style is the most important thing" philosophy and liked aspects of graffiti that took skill to execute. An original, sick style, always seemed to be the hardest thing to obtain as a writer. Back in the early 90's I did crazy fill-ins that hid the fact that my letters were weak. To some, the awkward letters were a cool style, but I always strive for letters that looked tough with swagger.

You can see something similar in a bunch of the current trends…. guys covering their letters with too many effects that hide the letter style…. or the letters are just very simple. After 30 years I still feel as if I have things to learn and I could still paint my name better with more style.. It never ends. One of things that I hoped would define an Emit piece besides my letter style, were some of the details. In the early days of my career, I had a love for 3d graffiti, but I was always married to the idea of NY letter structure and an actual outline around the letters. I always wanted my piece to pop of the wall and look as if you could grab it, like a well painted 3d style. I tried to obtain this look by doing a more realistic lighting on my 3d, overlapping and notching parts of my 3d that shadowed and/or overlapped other parts, as well as adding a shadow on the wall… Fill-in designs that overlapped letters and that went in and around letters also helped achieve this look. The details were always secondary to the style… I always wanted them to be something you noticed if you studied the piece for a bit. Some of these ideas were hard to achieve in the 90's with the lack of the modern day color selection so some of my stuff was still pretty flat, but I have always loved the idea of realistic light and shadow to make a piece pop.