First of all, it was an honor and a surprise.

When they asked me to come and and maybe work with them, I had the chance to go to Santa Rosa to see their museum, and we went through all the archives and we saw all the drawings off Schultz.

So as all the, uh, a great moment and lots of inspiration, the drawings off peanuts and the characters had, of course, an influence on my line off my drawings when I was working again on finding ideas for the this collaboration, Mr Ray, meeting the characters of peanuts.

It's funny how I rediscover some drawing and lines were very similar.

So of course he had a lot off influence on me.

I'm actually gonna dig into, like, all the images from peanuts that actually they actually action images, you know, like running or like dancing, tumbling roller skating.

I was really attracted to that sort of images because I thought okay, because my idea is actually to bring them energy to make them like explode, you know, because I mean my work.

Of course it has, you know, because of the way I use color and you know, shapes and everything.

What I wanna also like, I wanna trigger dying people, too.

I want people to feel energized.

You know the kids.

You know Charlie Brown, You know, Peppermint, Patty, everybody.

They sort of like their kids.

But they have, like this adults sort of like, you know, psychological struggles all the time.

And then But the one who's actually fantasizing about everything is Snoopy, you know?

And I was always I was always fascinated by this this combination, And it's very universal too, you know?

How could he should actually be able to do that?

Because I can relate to anything.

And that's I mean, that's the beauty of it.

Playing with Peanuts is so beautiful for us because it's like, so sweet and so genuine.

And so really, it's not like trying to be something other than that definitely has a close relationship to the art that we're putting out there.

So we totally feel a great connection, and we're honored to be like crying inside of that.

That realm Snoopy is like a very reduced kind of like graphic language.

It's still like addressing regular kid's life, so you have, like a little kid, It's pet are typical house.

Some of the imagery that were being toying with is to some degrees in the same reduced language.

But there are bigger icons in the sense of that.

They're not someone specific.

It's like a cloud.

The moon we able to combine those two.

So, like now Snoopy, it's on top of our little cloud.

So he's like, You know, that character right now is on top of this archetypical kind of like reference point, and that's something that that it was perfect for us.

It was perfect, like marriage between the work that we do on the existing language that's globally, like recognized cartoons are feel, are so powerful.

There's such a powerful way of conveying not only my inner feelings and inner emotions.

They're like emotion.

Emojis, I guess.

And I find that Peanuts does things in a similar but different way where you have these visuals that are so delightful and you have thes stories with the human heart which are touching.

But you also have some dark ah, human things that are apparent and get explained in a way that kids can kind of understand.

That's something that I think is really important and that I'd like to do in my artists well.

But the same time I don't want to add to the downers that I feel are being pushed out into the visual world.

I want you elevate in a way that's not pretending that everything is okay.

And I think that the peanuts do that in a similar way.

As a child, I would cut out images from the comics and, like, turn it in tow like my own toys like, So I I even see that as moving forward as a part of my work.

I kind of collaged images together.

I just tried to think about If Snoopy was a part of my world interacting with my figures, what would he look like?

And what world would he live in?

So, ah, lot of my figures are a little more squared off has to approach.

I took with Snoopy and Woodstock and then in a similar way, like I layered imagery in back of them and on top of them, and that's usually how I work.

When I was approached for the opportunity, I definitely jumped at it because peanuts has been a big part of my childhood, and so to be able to kind of filter those characters through my vision is kind of like, uh, once in a lifetime experience.

So the reason why when peanuts approached me and I wanted to do this was that it was something I grew up watching.

Um, it has a great large audience, and I like to engage more people, So it just made perfect sense.

The way I kind of went about with the artwork that I created was that I work on different kind of body of work, even in painting.

It could be figurative to abstraction.

And also there is a significant strong character and what Schultz has made.

And I tried my best to kind of capturing rise what peanuts represent and find a way for me to kind of resonate to that when I came to New York.

You know, these projects where the project that I want to kind of engage myself, um, again with the audience and my influences.

And I thought this was a perfect opportunity for me to be creative and, um, make something very creative as well.