Plantrees - ‘Graffiti is About Fun’
 
For PLANTREES, graffiti has always been about fun. Some writers chase fame, some chase style, others live for the adrenaline. For him, it’s about enjoyment, self-expression, adventure and community.
“Some people like bombing all the time, some people are into tagging, some people are into piecing. There are knuckleheads—crazy gangster types—while others are the most righteous, humble people you’ll ever meet. And everyone in between. It’s like one big melting pot—there’s no one archetype.”
His fascination with spray paint began in his early teens, liberating cans from a friend’s dad who worked construction. His first scrawlings appeared in alleyways near his house, illegible scribbles, just the act of leaving a mark. Later, in junior high school, he noticed the clean handstyles of girls, often more stylish than the guys. He tried to improve his writing moving through several names in high school in what he describes as his “super toy juvenile years” but never felt truly at home in lettering with any traditional graffiti handstyles. 
Going to high school in the mid-nineties near the Bay Area, he often would attend raves in Oakland and San Francisco, and was inspired by the art of writers like TWIST in spots like the landmark rooftops leading up to the bay bridge. He felt the energy and wanted to be part of that movement. Early influences also came from graffiti magazines at bookstores and watching freight trains roll by with work from EMER, PAY DIRT, and other Sacramento writers. But without many resources, he mostly watched, waiting for his time.
Beyond graffiti in the modern context, he’s drawn to its deeper human connection. He has always been compelled to leave a mark, like cave paintings, one of the most primal forms of visual communication. Throughout his international travels over the years he has found inspiration which has further fueled this fire in places such as the Museum of Anthropology in Mexico City, petroglyphs all along the west coast, and more. These ancient markings left a strong impression as he recognizes he is merely a contemporary in the millennia long lineage of humans expressing themselves on walls.
 
 
The Genesis of the Tree
 
The breakthrough came after moving to San Francisco in the late 90’s and linking up with a writer named KRES (from L.A.), who motivated him further. Coming out of high school he was using the graffiti name “ENSE,” but it was never something he felt he would permanently own. He longed for something that could be a name he would pour his heart and soul into for the core of his graffiti career. He had recently read Shepard Fairey’s manifesto for “Andre The Giant Has A Posse,” and was considering the concept of phenomenology and how, according to Fairey, the OBEY character had “no meaning.” One day in Sacramento, as he sat outside of a cafe (probably stoned), he started looking at the form of a tree, and was overcome with a wave of inspiration. That was when he realized: the tree was his voice. But what does a tree as an icon “mean?” One could say it is the antithesis of Fairey’s take on phenomenology. It literally represents everything: growth, branching out, constant growth, organic growth in an urban environment, family, life, death, connectivity, the universe. “You don’t see half of the tree, the roots are in the dirt, but they’re the foundation of it all.” There’s no wrong way to view it!
He decided to play around with this concept and one night painted a large multi-colored tree on a freight train. The feedback he would get for this from a girl he was trying to impress sealed the deal, as she said “That’s dope, you should just do the fucking trees!” Never before had he ever received positive feedback like that from any of his graffiti names so he leaned fully into the evergreen. He was still somewhat uncertain about the validity of this approach to graffiti, a culture which can be highly critical for people that take unorthodox approaches and at first would put the letters “E” on either side of the trees roots to tie it into his highschool graff name. But San Francisco has a long history of icon graffiti and monikers like ICON’s candy cane, REMENISCE’s horse, and even ORFN’s little Hungry Waif characters were unmistakable and just as powerful for the artist's recognition as their names in letters. This gave him some clearance to forge ahead with his tree, and gain respect from the local graff scene due to his rapid proliferation, plus an approach that was raw and incorporated every tool and format employed by more “traditional” writers. Thus the tree became his name, his icon, his tag, his identity.
However people he’d meet would ask the classic question “what you write?” So in order to have a practical answer he devised a formal name which is a double entendre. Technically, he says it’s “PLANTREES” pronounced “Plan-Trees” as one word. But worldwide people call him Plant Trees, El Pino, Tree Guy, or just Trees. He embraces all interpretations. Was it an environmental statement? Not explicitly, but again there is no wrong way to interpret this icon, “So if it means to you ‘plant more trees,’ then for sure—that’s what it means.” Another time when asked if there’s an environmentalist message, he laughed and conceded: “I’ve only planted a handful of actual trees in my life, I’m not hugging them every day—but hey, if you’re not down with trees, I feel bad for you!”
 
 
Origins & Inspiration
 
Plantrees is deeply aware of patterns, colors, and forms from his immediate surroundings. He once heard someone on TikTok say: “See this flower? That’s a dope color combo. See this bug? Look at the forms and patterns on it.” He thought: this guy gets it. Trees approaches his own work with that mindset—looking at the natural world for textures, colors, and rhythm.
He wants each tree to resonate with its environment, to play with the space he's creating it in so that it almost feels natural, as though it was always meant to be there. His roots, bark, and textures evolve and change constantly, from psychedelic palettes to earthy tones, giving the evergreen a magical presence.
 
 
My Discovery of PLANTREES
 
My first encounters with Plantrees go back to 2001–2002, before I moved to the Bay. Taking Caltrain into San Francisco, the ride was pure graffiti gold—burners, tags, throw-ups lining the tracks. But one image stuck with me above all: the tree.
Once in the city, I’d see it everywhere: on bins, lampposts, Lower Haight burners, stickers. It mesmerized me. Unlike letters, the tree felt like a symbol that carried weight—authentic, rootsy, earthy. In full-color pieces, its bark and roots stretched with life.
Abandoned freights near South SF often carried his work, standing strong among blockbusters and productions. It held its ground next to TWIST’s screw, Orfn’s characters, Reminisce’s horse, and Candy Cane’s icons. His tree was part of San Francisco’s unique graffiti DNA.
 
 
Style & Adaptability
 
The PLANTREES’ evergreen isn’t just a tag—it’s a living character. Each one evolves: roots grip, bark flows, branches twist. Whether small marker tags or whole freight burners, the tree adapts and remains recognizable.
Its adaptability makes it thrive in urban settings—rusting trains, trackside boxes, abandoned buildings. His trees feel like nature reclaiming space. Stickers bomb corners, sketches refine form, murals explode into full forests.
This flexibility also makes him highly collaborative. His trees can stand alone or flow into others’ work, enhancing without overshadowing. It’s a visual language that strengthens the collective graffiti tapestry.
 
 
Crews & Global Reach
 
Over the years, Trees has repped and connected with multiple crews:

• POP (Play On Player) Including: Imitation Crab Meat, 80 63, Destn, Chek, Harsh, Shux, Osama…

• DE (Daily Evolution) Including: Drama, Japan, Hades, Ye’Ol, Aider, Lost, Rage, Zeam, Kaer, Resol, Big Morgan, 10 Fold…

• GAW (Going All World) Including: Moz, Duce, Brek, Alek, Joker, Cuts, Midst, Siler, Pedro, Pen, Oser, Enco, GZR...

• NBC ( Nature’s Best Creations) Including: Tank, Punch, Skofe, Hufr, Anti, LSkeet, Hatek…

He recalls impactful moments like once painting SF yards in his first couple years of drawing the tree and being blown away when JENKS recognized him. Positive encounters in the streets with writers from LORDS other super OG Oakland writers like AMEND TDK, and CEAV 640 taught him lessons like “Stay in your own lane, do you, put in work and be true to yourself. If you keep it real, be respectful, and the real ones will show you respect.”
 
 
World Travel
 
Trees loves to travel. He’s painted in Jamaica, Costa Rica, Taiwan, Thailand, Mexico, Canada, and all across the U.S.—but hasn’t hit Europe yet.
Travel for him isn’t just painting. It’s meeting new people, trying new food, experiencing new cultures, customs, and religions. Painting abroad comes with caution: graffiti isn’t received the same everywhere, and he respects that. He often will link with locals to know the lay of the land, one of the perks to having gained international notoriety and being entrenched in a vast network of top notch writers.
Each trip adds to his global graffiti identity, spreading the evergreen far beyond SF.
 
 
Maturing as a Writer
 
“Graffiti has taught me so much. I’d wager that if you truly love anything — cooking, golf, auto mechanics— it will teach you all of life's lessons. To name a few, graffiti has taught me about dedication, discipline, resourcefulness, commitment, community, friendships. Graffiti’s dope like that. But it can also bring both you and others pain and suffering, such is life right? So be ready for that aspect of it if you intend to pursue a life as a graffiti writer. It comes with both positive and negative consequences, therefore be conscious of what you do and who it affects. For me I never wanted to ruin anyone’s day with my graffiti. I think this has given me positive graffiti karma which has allowed me to continue doing what I love to do for so long”
Now older, he sees graffiti as more than just adrenaline. It’s a lifelong teacher, and the community is family.
 
 
Graffiti Life Experiences
 
Through graffiti, Trees has met people worldwide—from Watts to Bangkok alleys, from ghettos in Mexico City to cutty spots in San Francisco. “I still do the tourist stuff too, but I’d never have all these other priceless experiences most people will never have without graffiti. It adds layers to your life that seem surreal and storylike when you tell them to normal people.”
He lives graffiti as an extension of life, and it has given him access to places and people far beyond the average and predictable. He’s thankful—for graffiti, for San Francisco, the West Coast, his friends and family, and above all for the big beautiful journey.
 
 
PLANTREES - Thank You Brother ! 
 
From alley tags to trackside burners, rooftop bombs to freights, gallery shows to sticker slaps, PLANTREES blends quiet consistency with iconic individuality.
 
He is one of the most recognisable symbol-based graffiti writers of our time.
planetofthetreez.com
@planetofthetreez


 
Interview ( UP IN THE SPOT ) : PLANTREES 
 
Easssyyy PLANTREES - First of all, Welcome to UP IN THE SPOT, and thanks for getting involved in the Archive and in creating this Amazing Miniature Graffiti World !

What's gooood my dude !!!
 
Can you tell us about one of your first ever graffiti experiences?
 
 One of my first ever graffiti experiences was when I first moved to San Francisco and I had linked up with Japan DE who was at that time [and still is to this day] in a completely different league than I am skill-wise. He's always been one of the best I’ve known, but at that time he was by far without a question the dopest writer that I had ever met. Me and maybe like five or six other heads went to look out for him as he bombed the spot off of the BART line  In hindsight that was ridiculous, and probably would have drawn more attention than doing any actual good, but I remember feeling so excited to be able to witness someone with that much skill do something that cool and to be included in this graffiti mission really motivated me .
 
What role did San Francisco’s graffiti scene play in shaping your style?
 
San Francisco's graffiti scene definitely played a big role in shaping my style. But I think just as much as the scene it was also the city itself that played a big role. A lot of writers came to San Francisco from other places and it just so happened that a lot of my homies actually converged into San Francisco around the same time. Through a network of my peers and going out to parties, that's how I met the DE & POP homies. Really the only one out of all of them that was from San Francisco I think was Chek. Being in a place like San Francisco facilitated the growth of me as a young writer because this is a great City to just walk around and discover things. The terrain is highly conducive to tagging in both day and night. There's all sorts of little spots that you could find by foot or on a bike, and if you have a car which I did you can travel around the greater Bay Area where there's even more spots. Once I linked up with DESTN and HARSH we just kind of were on a quest to get out there and find new places to paint. Obviously there was always graffiti in the East Bay but we were going into like the sticks like way out in Hayward off the tracks in the cut, where at the time there really wasn't that much action happening and at least for me, it felt like we were very far out there. I'd think like “wow if anyone ever actually sees this it's going to be kind of crazy.” But we were in it for the adventure and the experience of painting and everything that went with it, generally a ton of blunts, racking supplies and burritos. Nowadays you can obviously hardly even find an inch in the East Bay that isn't painted many times over, which is cool in its own rite, but back then, it really felt like we were graffiti pioneers. That sort of adventure just led me to want to keep pushing further and further which eventually when I met Moz involved going down to LA quite frequently and everywhere in between the bay and LA. Then further, to the east coast, far northern western coast and all across America, and then around the World. As big as this world is there's always more places to explore, but even in San Francisco I'm always coming across new little cutty nooks. For as much as I know the city like the back of my hand I still always find little new cutty nooks . So it's a fun city to explore, it's a fun city to tag and if you're a kid coming up in the game this is a great place to be.
 
Who were some of the earliest writers that inspired you?
 
The earliest writers that inspired me before I really got into graffiti were people that I saw in graffiti mags so a lot of Lords heads a lot of LTS / AWR / MSK… even European people. Whatever graffiti mags I was able to come up on, I would study them. I remember one time I saw this Katch train with one of his big ass rat characters. It was like a whole car rat character and I remember I had seen it in a magazine, and then actually seeing it roll by me in real life was probably one of the sickest things I had ever seen at that point although it was an experience that only I had, and could never be duplicated, so it felt personal although I obviously had never met the dude. I had gone to Santa Cruz when I was probably 16, and took pictures of his production I thought was cool on the side of the skate shop called Bill's Wheels. One of the pieces I took a picture of was a Japan, and I had it taped up in my dorm room as decoration and the very first day of school he walked into my dorm room, because everyone's just meeting everyone, and he looks and he sees the picture on my wall and he's like “oh that's me and I was just blown away.” I'm like “what the hell you're in Japan? Oh my God!” Starstruck, lol. That was a pretty cool connection and how we became friends, today he's still one of my best friends. Other people that really inspired me were people like Chek, Destn, Harsh… These guys were very motivated. Destn always had such positive attitude at all times. He was just glowing beam of light constantly, and still is… a great person… so much fun to paint with, just always bringing positive energy and I think it really shows in his graff. His style just looks effortless and fun, he's just got just so much sauciness to how he does his letters and to watch him paint you see it in real life, it's just fluid and he's just having fun and that really took the edge off of me as a young up-and-coming writer feeling the pressure like “Oh I have to be dope. I have to be able to hang.” I mean I still felt that pressure, but then when you're rolling with people and the whole point is just to do it, just to have fun, just to make it happen, you really get to be in a space that allows for more exploration stylistically and you're able to make mistakes, and it doesn't really matter because at the end of the day you're just having fun and you're trying new things… and hey all the paint’s free anyways!

 
How did it feel the first time you saw your tree on a rolling freight?
 
I'm always in shock anytime a freight train of my own surfaces, it's got to be the coolest feeling. I feel like the odds of catching one of your trains in the wild are like one in a million billion, but in reality a lot of these trains kind of cycle on the same lines so it’s only a matter of time if you're painting trains before you start catching your shit places. Even still, it's so unexpected it's a graffiti miracle every time. We used to play this game when we were rolling around, and we would see a line of trains as we were driving, we would all put a dollar into the pot, and if anybody had a train running on that line they would win the pot. I made that game up, and it was just like “who’s got a dollar on it?” It's a fun game, if you’re really about that life I encourage you and your homies to play it, HAHA.
I have always felt like painting trains is an exercise in pouring all of your energy into something, giving it your all, and then just letting go of it, because you really cannot be painting trains with any sort of expectation that you will see them ever again. Especially back when I first started painting trains there were no cell phones that could actually take legitimate pictures, and it was not okay to take photos with the camera that flashed at night time in the yard because you could potentially play yourself out, so really you just had to hope that the train you painted would pop up somewhere down the line and quite often it did but there's a lot of them I painted that are probably still out there unflick’d, or maybe someone went over them or the elements wore them off or they were taken out of service, who knows. Nothing lasts forever.

 
What’s your favourite surface to paint — streets, freights, rooftops?
 
Nowadays my favorite service to paint is probably just a nice freshly painted wall with a bunch of homies. Back in the day, my favorite surface to paint was probably a really rusty crusty metal surface. I'll tell you hands down the best surface to do graffiti on is a clean freight train that's been sitting in the sun when you have a Mean Streak. Mean streak on a clean freight train, that's got to be one of the best feelings in the world.
 
Any memorable collaborations or crew productions that stand out?
 
I think one of the coolest crew Productions that I've ever been a part of was the GAW and the Tijuana River that was epic if you guys haven't seen it you should go to the GAW crew Instagram page and check it out.
 
Can you talk about your involvement in DE, POP, GAW, & NBC?
 
These are my brothers. These are people that I have built strong friendships with that extend around the world. Some people in these Crews I really have only interacted with through graffiti or at crew meetings, but most of the people in these Crews are literally my best friends, and at this point our history together goes back decades.
 
What does it mean to be part of multiple crews across the globe?
 
Wherever I go I'll have people I can link and paint with, but it's not really about the clout that comes with being in the crews. Me repping my crews is like being able to hit over 50 different people at once by just writing a few letters next to my shit. There is a responsibility that I feel because I want to rep my crews equally, because they are all equally important to me and I'm personally invested in all of them. But it's not a chore, it's a privilege and I'm grateful for my crews. These are people that I'm proud to say that I'm affiliated with. I would never want to be in a crew with people that I didn't align with or didn't really know.
 
Any close calls while out painting? I know you mentioned one in Dregs One interview — can you tell us more about that or others? Any run-ins with the law?
 
One time I was in Tijuana painting off of the tracks with Dalè and Moz. We had finished but way down the tracks we spotted a police truck driving towards us, so we just tucked our paint in these little bushes and started walking towards him, because we felt like if we would have ran, in the other direction it would have just made it way worse. We casually strolled towards them and then they actually drove past us and drove up to the wall that we are just at, stopped and then reversed super fast, and then jumped out with their guns drawn and put us on the tracks, face down, handcuffed us, put it in the back of their truck told us we're in a lot of trouble, said there was a repot of some people fitting our description robing people, which is hilarious and a blatant lie. But they said we're going to jail, you know, muchas problemas… So we're driving up the tracks and it’s super bumpy and uncomfortable as shit, cuz they just push you in the back of their pickup truck handcuffed. No more than 200 yards up the tracks they stop and we're able to cut a deal with them. I forget how much money they took from us, maybe a couple hundred bucks in total. Definitely a prince that was a lot better than going to jail in Tijuana. This sort of thing has happened to me multiple times in Mexico. It doesn't work that easily in America.

 
Are there cities outside SF where your work has felt especially well received?

I'm always pretty surprised by how well received my trees are everywhere it's hard to say one place that's more well received than others it feels good to be able to show people what you do and almost without fail get genuine positive reactions.
 
What’s your perspective on stickers as a form of graffiti presence?

Stickers like any other medium have their place. It's always unfortunate when I see stickers that are slapped over old tags but I think the stickers are just another way people can get up, nothing wrong with that. But it's like they say in Style Wars “if you only specialize in one thing you can't really call yourself an all-out King.” So don't just do stickers, do everything, and at the end of the day you'll be more respected for that.
I will say that eggshell stickers while traveling definitely come in handy because a lot of surfaces are pretty grimy or tear your marker up and you might need to just get the spot on the fly, so stickers are really helpful for that. I used to feel like every sticker I would ever do would be hand-drawn by me, one of one, and then the more I started traveling the more I realized I can't just be putting up these little paper labels because they're only going to last like a week in this environment. That's when I started getting stickers actually made. My homie Dunk GAW has a sticker shop in Mexico City called “The Project Stickers” …look him up if you need any stickers. He can do anything and everything. It's really good quality and he’ll give you a great price.
 
How do you think graffiti has changed in the Bay since you started?

I think graffiti is changing the bay probably the same way it's changed everywhere in the world. To me it just seems like shit is on smash nowadays. I mean people are doing some crazy shit, that I only dreamed of when I was young. Repelling off of the side of buildings and doing full-blown burners going vertical down the building that shit is insane also since covid the whole scene is just exploded we graffiti it's been really fun to watch even though I'm pretty much past my hay day of bombing I love to see it in terms of style it's hard to say how much has changed we still got the bus hopper one flow classic SF hand Style and there's always styles that are being pushed and brought from other places San Francisco is a Melting Pot of all sorts of cultures and graffiti is no different so if you come out here you're going to get to see all sorts of different graffiti styles in the Bay Area.

Have you explored other mediums like gallery shows or digital art, I know you’ve made a few NFT’s tell us more about how that came about ?
 
To be honest I wish I did more art in the Galleries and more digital art. I'm a professional graphic designer and nowadays I'm just too busy with work to be able to devote time to studio art. Maybe when I'm older I'll be able to carve out more time to do more studio art. I've always wanted to create art, but really never wanted to have the pressure of being forced to sell my art to survive. That’s why graphic design is great because it has given me the opportunity to be creative and use my visual communication abilities, without the pressure of having to come up with newer better art shows, and doing art that I think the people will want to buy. If I do something its from pure inspiration, or because I just really feel like getting loose. People reach out to me from time to time for commissions and I'll gladly oblige, it might take me a long time to get around to doing it sadly enough, because I'm so dam busy with work work and life, but honestly I do love to do it. I wish I could get into more sculpture… also stained glass, that's another one that I've always really wanted to explore and I think would look good with my style I just don't have the time or the space in my little San Francisco apartment. So when I do art it's really just to be able to give people access to my art. That is my main intention with my merch store, being able to allow people access directly to my art even though I may not be selling it in galleries or really be out there like that right now. I also draw on my iPad sometimes for fun, so the nft thing kind of came about because I thought it could be a cool way for people to have ownership over my digital artwork, if that was something that was of importance to them but it never went anywhere, and I don't really give a fuck, it was just fun to experiment with it during covid.
 
What’s your process like when creating a new tree piece or burner?

My process when creating a new tree piece is really about pulling from what's around me. I try and look at the surroundings and see if there are any clues, or patterns, or textures that I can incorporate. I have a general flow and shape of my tree so that doesn't change too much, but depending on how much energy I want to put into it and the time that I have to do it, I might add more and more details, more little bits on to it. I might add extra colors or unexpected tree colors I might give it a background, I might try and give it more motion. I might have it flowing in a certain direction that moves with the space that I'm putting it in. If I'm painting near or next to other people I might have it interacting with their pieces it's really on a situation by situation basis. I seldom ever actually sketch things out prior to going to the wall. I might have certain techniques in my head that I've been wanting to try, or pieces of inspiration that I've wanted to incorporate into my next piece but it never is all that premeditated. It's usually rather spontaneous and fluid on the spot, quite often dictated by whatever colors I happen to throw into my bag or have in my car at that point in time.
 
Do you have any favourite writers working with icons or characters today?

Well first off  R.I.P Ribity. Other icon characters writers that I like who is Guez, he’s crushing it with his dog face, also Giraffa he's a legend… But other than character bombers, I'm just a big fan of graffiti, all sorts of graffiti. Street art, burners, toy shit, I honestly love it all.
 
What would you say is the most misunderstood part of your work?

I don't think it's possible to misunderstand my work, however you understand it, that's what it is. Quite often I'll be painting and a parent will walk by with their little kid and the kid will point up and say “look mom, a tree!” So I don't think my work’s all that hard to understand.
 
What would you tell younger writers starting out with something non-traditional?

The coolest thing you can ever do is just be true to yourself.If you have something you want to do, if you're not hurting someone else or taking someone else's idea, don't let anyone stop you. It doesn't really matter whether they like it or not and at the end of the day if you do enough of it, people won't have a choice but to accept it.
Lastly, having respect for other people will get you respect.

Is there a piece you’re most proud of? One that really stands out?

LA River was a pretty big one I think that was the biggest piece that I ever did in my life that one stands out.

Have you ever faced challenges or criticism for choosing a non-letter symbol?

Surprisingly enough no not really… and if so I guess people are just not vocal about it because they know that I'm a real one and it's not going to stop me regardless. I'm just going to keep doing my thing, so haters may hate but that's what they do best, but I'm going to keep doing what I do best, which is a dumb ass amount of graffiti.

How do you maintain originality while being so prolific?

To be honest I think I just came up with a really original idea right off the rip and then I've been very prolific with it. I don't think I'm necessarily original every time I do a tree I might push myself and come up with new ideas new ways of evolving it but some people I know like Ten Fold he'll never do the same piece twice he's as that good I'm not on that level but that's okay I just have fun.

Countries that you would love to visit strictly to paint ?

I'd love to finish traveling all over Asia. I obviously really need to go to Europe you're still places all across America that I can't wait to see further down into South America, I really want to go there anywhere and everywhere really.

Top 3 Favourite Colours, Favourite Colour Schemes etc, you like to use in your work ?

Safety green Rust-Oleum tall can. Cherokee Red 94, one of my go to colors for pieces. I miss the old Walmart 99 cent Silvers, those worked really good back in the day.

Outside of Graffiti , what are your other passions in life , what do you love to do ? 

Float in a clear body of water that is a nice temperature in a calm tropical ocean, I'm also a hot springs and jacuzzi suite connoisseur. Good food with good people. I love driving with my lady, it gives me a sense of total freedom. I love taking road trips, graffiti is just part of the fun but it's the rest of the experience that makes it all worthwhile.

Any final words for the graffiti community worldwide?

Keep it positive yall. Be good to your body and be good to others.
What keeps you coming back to paint after all these years? What’s next for you on the horizon, TREES?
Love, exploration… life, who knows what’s next, but I look forward to it!

Any shouts you want to give out to the homies/friends?

Kitten the love of my life and number one painting partner. SCAPE LOK, MATH PTV, NOPE, SKILO, RED RUM, COZ, CIDER, CHIP 7, everybody who's in all of my crews, too many to name but you know who you are, anyone who's ever shown me love out of town or locally I appreciate you all. People that have supported me and give me props in the streets, randomly the shit just adds more fuel to my fire so thank you so much for your positive vibes. I only hope that I can somehow return the favor either through my art or other positive influential actions I can do in this life.

Finally, UP IN THE SPOT  would like to thank you for taking the time out to get involved in the Archive - Where can people see your work ?

Catch me on a freight rolling through a field, in a city near you… or follow my misadventures on instagram @Planetofthetreez