Wesley Knight 0:00
This is a KU NB studios original program. The content of this program does not reflect the views or opinions of 91.5 jazz and more the University of Nevada, Las Vegas, or the Board of Regents of the Nevada System of Higher Education.

Anika Jones 0:16
Let's get scratching, ladies and gentlemen, welcome to the vibrant world of graffiti Park radio, where creativity knows no bound, we'll tap in with artists, educators, our proud partners and community stakeholders who believe in empowering the next generation of visionaries beyond the hidden alleyways abandoned warehouses and local city transits, where artists are known to leave their mark, graffiti Park Foundation has redefined and re imagined the persona street Museum,

Dan Moloney 0:44
good morning, good afternoon or good day, whatever time you might be tuning in if you're listening on the radio, good morning to you. We got Dan and Dan and Miss Anika Jones here today, hey, oh, howdy. And another episode of graffiti Park radio today, we have a very special guest, Mr. Trent Larson, how's it going? Brother,

Trent Larson 1:05
pretty good. Thanks for having me on. Well, it is

Dan Moloney 1:08
our pleasure. It is our pleasure. So we got a myriad of different questions to throw your way. Maybe stump you, maybe not. What have you been working on this

Trent Larson 1:20
week, this week, just been out doing stuff for EDC, just kind of the boring little touch up stuff, spruce it up here, paint a little wood grain, you know, just kind of make it shine again,

Dan Bulgatz 1:33
nice. And you've been doing that for a while now. Yes, not this particular

Trent Larson 1:37
gig, but working for EDC in the past, yeah, doing a stage, the arena, like a stage arena decoration, I could

Dan Bulgatz 1:45
call it. And for listeners that don't know what EDC is, they don't know anything about the setup. Tell them about,

Trent Larson 1:51
well, EDC is the Electric Daisy Carnival, the big kind of rave festival that happens here every year, out at the racetrack. So they have, I don't know how many it is this year, like 1012, stages, the bigger stages always have stage crews and artists that develop and design them. So sometimes they pay us to put graffiti or art on there. How

Dan Moloney 2:15
did you get into that, that particular Yeah, or just staged, help him with the stage design, or any of that. The head of my crew

Trent Larson 2:25
scale, he just happened to be who he is in the city. And Pasquale, who, you know, was the head of EDC at the time. I guess they had some need for the people they were using. They kind of let go for the time. And then he just happened to be there. And I think the first year we stumbled into it, it was, you know, small pay here, we'll buy your paint, get down on the thing. And since then, for like, 1213, years, they they loved what we did, and go, go to town, every year, it just got bigger and better.

Dan Moloney 2:54
And how long of a process is that? Obviously, it's this weekend, or, if you're listening, it's the weekend in may sometime, and recording this on Wednesday.

Trent Larson 3:03
Yeah. So how long does that take you? It takes us, usually four weeks. That's about the time. They give us the maximum time, and we have to pull off the miracle of two stages sometimes and into in four weeks. But yeah,

Dan Moloney 3:15
it's been so do you guys do, like a walk through and see everything that needs touched up? Or do you do they give you a punch

Trent Larson 3:21
list right now? Yeah, it's like a punch list. Or the lead artist will get a walk through and kind of know what to do. I'm not the lead artist on this, this gig this time, but when it comes to doing like stage painting or arena painting, they give us a mock up, and we kind of do it all virtually in our mind. And kind of have to, you know, develop that as we got you. But right now what I'm doing, yeah, they have, and once they build it, they see what's wrong, and then it's kind of, you know, itemized and,

Dan Moloney 3:51
well, tight man. So that's what you're doing now. You're gonna take it way back. Yeah, tell us a little bit about yourself. How'd you get into art? Where are you from? The origin story of T Larson art. I am

Trent Larson 4:01
from Orange, California. I didn't live there long. We moved when I was young, but a little bit in Colorado, and then we moved to Phoenix, Arizona, where I grew up. Okay, so, I mean, it's kind of downwind of the culture from LA, but graffiti. Graffiti was what I started doing in 1993 I think that really kind of, I've always been artistically inclined take art classes and drew pictures since I was a little kid. But, yeah, I think in 93 graffiti just grabbed me and I started, you know, getting paint the ways that we used to get back then, those ways, yeah, mass, you know, all that stuff. And, yeah, just hit walls of abandoned structures, canals, freeways, you know, but it really developed into me being a sign painter and muralist, which, you know, I didn't think of at the time. Sure, I didn't even say I wanted to be an artist when I grew up, you know, I didn't know. But

Dan Bulgatz 4:54
so when you first started in like 1993 How did you start to kind of find your style? Was it just. Again, like you had in your mind, and you kind of were figuring out a can, or were you, oh,

Trent Larson 5:03
no, there were definitely influences in Phoenix at the time. There were some writers, one grimy, I think he's still out in LA, like, doing tattoos storm. There was the DVS crew. Was kind of the ones that were really, like the top dogs. And just seeing what those guys did, you know, pushed me. I mean, my style back then was horrible. I just kind of did what I could. But, you know, through the years, it kind of developed, and now I paint like a 3d style, which is completely, you know, kind of different from that whole traditional graffiti aspect. But yeah, I was seeing certain guys just do stuff that blew my mind, like one grimy that writer, he did this whole, like, 40 foot wall. They're probably, like, 16 feet tall. He did it all with a roller fill in, and then took cans and lined it out. It was just to that day, the craziest thing I'd ever seen. It blew my mind. And I was like, Yeah, I want to do this. I want to do this. Like, I want to get spray painted, spray paint my name on walls. But you know is, it's an art form. I mean, yeah, I know a lot of writers can talk for days on how it is, like one of the coolest art forms, or one of the most contemporary, you know, cutting edge type things. So I agree fully, because it takes a long time to develop, but that's where it started,

Dan Bulgatz 6:20
yeah. And so learning your can control and those kinds of things as you were growing up, obviously, you start out in canals, and you slowly work your way on up. Did you start as we're looking grimy, has a little bit more of a wild style, if I could take it or it's, yeah, yeah.

Trent Larson 6:35
I think, let me see if I can even, I can't even really remember, like, what his style like was, because it was kind of all over the place. But yeah, G, R, i, m, e, with the little thing over it. Yeah. He's one of those just 90s like, originators from from where it was at that point. So

Dan Bulgatz 6:54
Okay, and so from 1993 How long would you say it took you until you felt like, Okay, I'm competent enough with the can to not put these in, say, tunnels and stuff, but to more and put them out in a little bit more public spaces. It was a little bit of a mix. I

Trent Larson 7:08
think, if I'm being honest, like, 2008 or nine, Oh, wow. Like that long, because I did a lot of characters and backgrounds and kind of, like more picture, you know, not so much the letters. I hated trying to, you know, you do it, you like it, and you're like, oh, it's still not like that. You don't really want to show it. I mean, it would, it might, I might put it on the freeway, or might put it in some yards, or trains. Trains was a big thing. But once I changed my name, I was writing think, and then changed to the one I'm writing now, which because we got my case, that one day, I just picked up three scrap cans, and was like, I want to paint three Ds. And I did it. And then it kind of was born where I kind of knew what I could do and what I wanted to do. And then I think, you know, a couple of short years I was painting in the 3d style, although I think I liked it, but there was never contentment. So, I mean, just maybe 2015 is where I really got to the point where, like, yeah, I want to, I want to put this out there in legal walls. So that's kind of where the bridge was once I was comfortable. Then I just wanted to hit up businesses and say, you know, can I put my name on your wall? I'll paint your sign, you know? Because that was kind of the thing that would last longer than regular graffiti, right? Yeah, then it kind of launched into doing signs or murals or and

Dan Bulgatz 8:33
so what does that transition like from going from graffiti to sign painting, where everything is a lot more crisp, it has to be a lot more perfect. I guess that's

Trent Larson 8:43
kind of what the essence of graffiti was like to me. Like it should be clean and perfect. If you can sit there and have the time or think, oh, I should do that nice, then you should. Because, I mean, you know, the quality and the style is really what kind of drives the whole thing. So it wasn't a hard transition, because I had that strict, you know, regimen of, it's got to look nice. The funny thing is, it's, it's kind of a slow transition, because little by little, I'd be doing more and more and then getting bigger jobs. Then I'm like, Well, let me paint a picture, or let me do a portrait, or, you know, so it kind of, it was, you know, a little bit of a overlap as it went through,

Anika Jones 9:26
yeah, you talked a little bit about being discontent, like, did that transfer to other mediums? And how far into your graffiti writing Did you decide, like, let me try some other different ways to express my

Trent Larson 9:37
art. Oh, I've always done it. Kind of, I've painted canvas. I've always had, you know, multiple avenues of artistic expression, but I think they all kind of go hand in hand, because, you know, the the once you're content, I feel like you hit the ceiling, yeah, then you don't grow anymore. So people ask that question, do you like the you know, do you like this one? Or how do you feel about it? And it's, I don't. Want to give them that honest answer of like, well, it's give it a be mine. Yeah, I may like it at the time and be content, but I still didn't achieve those little, you know, points that I wanted to get to. And then there's next time you do a little better, you get a little better, yeah? So that just kind of once you are in that mindset, that's how you keep growing. Otherwise, I

Anika Jones 10:19
love that. It allows us to see different sides of you as an artist. Yeah, do

Dan Moloney 10:23
you think it's important for artists, whether they're a graffiti artist or a muralist, to have different forms of expression and mediums to practice in? Definitely,

Trent Larson 10:30
the mind goes there. So I mean, just to limit yourself, and I just draw, or I just tattoo, or I only use acrylics on canvas. No, I mean, I've started sculpting before. I was blowing glass, but that was just like, Yes, I made a car out of clay, and then we made it a real thing, and, you know, stuff like that. So I definitely encourage anybody to get into whether it's poetry, music, you know, any kind of expression is important, because the mind is much more rounded than just one, you know, facet of of art. And it sounds

Dan Moloney 11:07
like, by doing those different things, it makes every other medium better, yes, and you can, you know, you're getting to express and have those different outlets. And

Trent Larson 11:16
I feel like, in a way, you kind of connect those parts of your your mind or your creativity, and it kind of, what's the word for it? Synergy, maybe. Yeah. You know totally that.

Anika Jones 11:25
I noticed that with your dumpster candles, ah, yes, and they're also tagged too. So it's like you're creating a smaller canvas. You're creating a different canvas. You're paying homage to the canvases that you know people who are writing before have done too. So that's that was very cool to see. I even

Trent Larson 11:41
wrote a poem about it, because they are kind of their own poetry. You know that that poem, it goes like I shall never, I think that I shall never see a poem as lovely as a tree somewhere I have it. I wrote about a dumpster fire, same like meter and everything, but I love it. Changed it to dumpster fire because they're poetry too. You want to be real. I think nothing embodied that year last year better than I love it. And maybe we're in a bigger dumpster fire year this year. It's all the way you look at it too, because I took last year's, it was the worst year of my life, I think pretty much just going through a lot of bad stuff, and that was kind of the one thing that I could push back with, and then it made me feel good like, yeah, it's, it's a dumpster fire, but it goes out in a way. It turned into poetry. Yeah,

there you go. And

Dan Bulgatz 12:34
not to harp on that, but during all of that, did you find art as an escape? And what was your favorite thing to start to work on during these turmoil points. If I

Trent Larson 12:45
did not have my studio, and if I did not have that ability, I probably would not have made it through, right? It's therapy. It's very much therapeutic to, you know, even what I'm doing right now, just painting wood grain on something that got ruined. It's so peaceful and, you know, like I said, it's medicine in art is for hard times. I think, do you

Dan Bulgatz 13:08
have any pieces of advice for any other artists struggling and looking for a different avenue or for a different option in their life?

Trent Larson 13:15
Oh, yeah. I think what I found is, do you do what makes you feel good, if you follow the passion if you want to do it like that, that's what you need to do. Everything else isn't going to work the same. I often struggle on art projects where I don't have the passion in it, and if I can find it, that's good, because if I can't, I know I'm just forcing it, it's not going to be good art. And I usually now I'm smart enough to abandon it, but yeah, to everybody out there, like struggling or thinking, you know, just do what you love. And that's the essence of the creative you know, Spark is that you're doing it for you. You're making art for you. You're doing what you love, and if it makes you feel good, then other people start to pick that up. That's the sequence, you know, like your your vibe and your mood and your little messages, is in the art. So, yeah, okay,

Dan Moloney 14:03
I think kind of in the same vein, like taking that idea of finding things that you're passionate about, walk us through, like your creative process, like your commission to do something from like conception to completion, how, what are some of the steps that you take? Usually

Trent Larson 14:17
it's kind of, I think it kind of starts. I just kind of just realized this now, but I think it's kind of like, I'll sit there for a minute and wait for, like, what's the message, or what's the visual message we're trying to get for, like, for example, the one we did out at the racetrack, I was like, well, it's racing, it's movement. There's obviously some recognized colors that that race car driver, you know, Richard Petty has, but it was, I'm looking for something to hit me. I'm looking for inspiration, but it comes through kind of that thought, and then once I have that, it's kind of a thumbnail sketch, mock up. Time. Just draw it. Go see what you sit down until you know that you don't like that one anymore. You. Usually there's a clear front runner type thing after that. I think it's kind of depending on who the client is. If there's a little, you know, here's what do you guys think, some feedback sessions and then some revision. But until that inspiration moment hits, it's it's hard. Sometimes I'll sit there struggling. I've actually given stuff back, like I can't do it, nothing's nothing's coming. And that's where I think I've matured as an artist, to understand you got to have that passion in it, or it's not going to be your art. My energy doesn't go into it the same way, and it's not appreciated the same way. If I don't have that and I don't appreciate it at that core, no one else is. Yeah,

Dan Bulgatz 15:41
how long did that take for you to come to that conclusion, or for you to realize

Trent Larson 15:44
that many, many years? I mean, I think I've been doing art more seriously since, obviously, the 90s and even into my 20s. I did flyer design and all kinds, you know, drew pictures and whatever. But I think professionally, I was like professional artist, muralist. I counted about 2012 but maybe like 2010 but since then, till just a few years ago, did I realize that equation? You know,

Dan Moloney 16:14
I think one of the things that we try to teach, or we're always learning about this too, is working with clients when it comes to concepts and rendering and like, exactly what you're saying, like you want a certain thing. Here's my creative energy. It's a development, yeah. So what are some things that you found helpful, like questions to ask clients, or how do you go about that interaction with them, that back and forth you mentioned,

Trent Larson 16:39
it's kind of dynamic, but I think it goes off a kind of like feeling, or I see what, what lights up in their, you know, eyes when we're talking. Or sometimes it's just like, you know, what? If we're derailed or not getting, you know, anything kind of progressing, it'll go to like, well, what kind of emotion Do you want to bring up? Or what, you know, if it's a landmark, like, what do you want to what do you really want to be standing out about you? Things like that. Sometimes it's just out of the box, you know, what's your favorite color? Or Which color do you like out of this? And then we build it around that. Or, you know, it's tricky, but I think when you're diligent in finding that inspiration everybody kind of comes together. Yeah,

Dan Moloney 17:23
I like what you said about you know, what message do I want this visual piece to portray? And I think that's what it boils down.

Trent Larson 17:30
There always is some message, whether it's just a simple visual kind of idea or it makes you feel that way. And the beauty, beauty of art is, I might have created it with that whole little message in mind, but you get something else out of it too, or right. Sometimes I just create it, it feels right, and let everybody else kind of determine what it is. But that's usually where the client, when doing stuff for clients, comes into play, because they like this certain thing. And I'm like, Well, I like that too. Like, what does it mean? You know, you find it. You discover it at the same time. That's what they call it, developing the ideas. Because it's a group, you know, build, yeah, that's what I say a lot, like, Let's build, let's we build. Like that comes from that,

Dan Moloney 18:10
so it's good. And what trend messenger, or mentioned earlier, is we did a collaboration with Las Vegas Motor Speedway, and there's four different murals out there. Trent was one of the artists on one of the artists on one of those murals. And it's an homage to Richard Petty. They have kind of a whole it's the Richard Petty terrace out there. And it is a killer mural, really. It is. It is a stunner, for sure. So, and

Dan Bulgatz 18:33
it was built off of an existing sculpture that they have of Richard Petty's classic hat that he would wear race, yeah. And so after well, we provided a picture to Trent of the actual, you know, statue of the and he pretty much derived some of the elements off of that and made them much cooler, I'd say, on the background of it, so that everything is cohesive and so that it all matches together. And so if you have a chance to be out at the motor speedway, if you're there for EDC this weekend, we definitely recommend that you go and check it out, because it's a beautiful intersection, I would say, of multiple artists coming together and cool and elaborating on an idea, even though it has no words, no specific things other than, you know, his his number and a signature down at the bottom, his

Trent Larson 19:15
classic. It's one of the nicest signatures, I think that are out there. But, yeah, it's just a great, you know, one of the challenges was, okay, I can't make the hat disappear, you know, it has to not compete with the hat, right? I think it just worked perfect. And it's Richard Petty, like, to the core, just, you know, yeah, it was great. That was a fun project.

Dan Bulgatz 19:34
And so you talked about, you said, Let's build together. And I really like that. And I think it's important to note that you can't build anything without a solid foundation. And so can I ask is, what do you think are some of your foundational pillars as an artist that have really transformed your artwork into the beautiful stuff that we see on Instagram now,

Trent Larson 19:54
I think a lot of the time, if I'm really looking for some like, you know, common denominator? There. I think it's that I'm working with somebody to try to find that little visual idea or message, because I'm pretty versatile. I don't do a lot of the same things or style or, you know, so there's not any one single visual like tangible thing. But I think it's that foundationally, I have to connect, to have that connection with who I'm working with, or the city, or, you know, the project. Why am I doing it? Does it? Does it mean something to me that that creates that kind of spark? I think to start with foundationally, this guy, we're coming up with all these realizations, like on the fly, where I'm like, God, didn't think of that, but I think that's it, that without that, I can't create something visually or understand what the message might be or my connection to it. So, yeah, that's actually a good question.

Dan Moloney 20:54
I think you've mentioned a couple. We've talked about some work, obviously, what you're doing up at EDC. Do you have, like, your kind of favorite piece of work, or something you're most proud of that you've worked on over the last 30 plus years of doing art. I think

Trent Larson 21:07
every year has one like, where I'm like, okay, top one of the year. What was last year? I'm drawing a blank. I know it's in there. One of my favorite ones that the bar is closed right now is Gambit in Henderson, like on Sunset right before you,

Dan Moloney 21:25
yeah,

Trent Larson 21:27
there was, that was a huge, like, half a million dollar build out they did, and I did a lot of little art pieces in there. But the VIP room, I did rattlesnake Mojave rattlesnake skin stretching around all that. And it was all the scales were representing Nevada geology. So it was like little mineral veins and copper, gold, silver, stuff like that. That was like the coup de gras of that year. I think it was 2022, 2023, I hate it. People like, oh, what's some of the stuff you've done? I draw a blank, and I'm like, standing right across the street from one maybe, yeah, but I'd kind of have to look at my Instagram. I think every year there's a favorite, though, and it's kind of like, what I, you know, achieved, my skills are honed better and better every year, every project. And every year there's there's one. So like, when I first moved here the arts factory, even though I didn't design that, that that motif, like, just to be able to execute that with my team and with ISI, that was just like, I was really proud of that. So that was that of that year, right? I painted the flamingo Pool Grill, the guest Bar and Grill inside, just before the arts factory, too. So that was, like, another one right off the bat, but there's always that little like, you know, high tide mark, yeah, of the year. So, and I think, I think that's

Dan Moloney 22:49
a good answer that's important is it just shows that it's, like, it goes back to that core philosophy you were talking about, of, like, just, you know, not getting complacent. It's like, hey, no, this year. I like this one for this reason, this year. And I think that adds to kind of your whole philosophy that you were going down. And

Trent Larson 23:05
yeah, it's, it's you keep getting better. So, you know, it doesn't mean that you shouldn't like something you did five years ago that was the best of your career at that point. And I still, you know, acknowledge those and love those projects, and even

Dan Moloney 23:18
ones, I think, and I don't know if this is true for you, but there's stuff for us. It's like, that mural may not have been like the highest quality thing that we did, but it was a fun project. The clients loved it, or whatever. Yeah,

Trent Larson 23:30
sometimes the impact, you know, right, is greater than even the time put in or the the basic high school. And we do it with you guys and the junior high, the horse and the wolves. That was another one, just like of that year, or that time those most proud of just because they looked good. And I felt, you know, you felt the thing. And it was, it's

Dan Moloney 23:51
like a 30 foot horse with the state of Nevada. Oh, wow. And

Trent Larson 23:55
I picked one because they're the Colts, but then they were like, can you do the red rocks behind it? So I just kind of swapped it out. But it came out, I wanted to do a realistic style, which I'm not as first in when doing like animals, but everyone's like, that looks like a vinyl sticker. And I was like, I really like that one. That's cool. Wait now that one that was great. Yeah, that was fun.

Anika Jones 24:14
You have some very pinnacle pieces downtown too, especially in places where, you know, we're having COVID happening. We've got people who are starting businesses that were like, wow, you know, I hope this is successful, but we don't know are going to fail. And these are, like, literally, at the corner of some of the main places that we're all hanging out. And of course, where some of your best artwork is displayed downtown. That's been a huge part of how the city has moved forward, and definitely how art has been shown all over the city is definitely the hub down there, yeah,

Trent Larson 24:45
and I wanted to move right there. I lived on Imperial in Maine. I wanted to move there for that reason, because coming from Phoenix, their arts district developed, blew up and then gentrified everybody out of it. Yeah. It's it's gone. And then they had one on Grand Avenue, and that happened there too, and it's kind of just a cycle. And I was like, Well, let me get here and try to help influence this neighborhood, when I moved out here, and I feel like I am part of that community. And no, you did part of that arts district. And now I'm sad that we might lose it soon, because it's just gonna gentrify. It becomes popular. It's the nature of the game. But I think with with platforms like this, even if we can get the message out there that, you know, like, let's keep creatives in the arts district, and then that whole scene doesn't die, maybe that's why I'm here, you know, to try to, like, make my mark that way and help influence the city, keep that stuff. Well, I

Dan Bulgatz 25:40
want to say that you've definitely left your mark how we found you. You were one of the first artists we ever reached out to when we were starting the idea of graffiti Park. I'd be remiss not to tell the story is that Dan and I have the three years from 2016 to 2019 where we're just kind of massaging this idea of, what do we do? How do we go? Dan and I would go down to the arts district once a month at least, and we would go and take photos of all of the graffiti, and take pictures and show that it was constantly being renewed, refurbished, whatever you want to fill in the words what that was and your artworks, they stuck out because there was three or four of them. And after we started taking photos, I think I reached out over an Instagram DM and said, Dude, you're amazing. How do we get you more involved? And you know, it's funny how, you know, the dominoes all fall. And it took probably three years until we were up to where our echelon, I think, was good enough to where we could bring you in, feel confident about that. And so I want you to know, like, it's a really cool story for us. It's like, as far as artists go, like you stuck out to us way before Dan and I really ever knew about anything, about the graffiti theme, about graffiti Park, about any of that. And so I want all our viewers to know that like he's he's an OG he's been in the game. His murals are up all over throughout the arts district and now down at the at the EDC Speedway, and all throughout town and a lot of different middle schools. And I want you to know like you've definitely left your mark in in the city, in graffiti Park, in our hearts, and hopefully in all the viewers hearts, for sure.

Trent Larson 27:00
Thank you. I came here, you know, wanting that the head of my group, my crew, is who brought me out to blow glass, and that's one of the reasons I came out here. But Vegas embraced me so holy, like right off the bat, and I felt like, you know, it was a home for me. So I'm here. I'm from Vegas now, yeah, I love that. I love that. That's that, you know, that story, like, I'm glad I could be a part of it. That makes me feel great, that, you know, I had some impact. There's anything that my art can do that makes me the reward is that I impacted somebody, yeah, that it stood out. Somebody saw it. So

Dan Moloney 27:37
that's awesome, man. And we're getting to the end of our episode here. We got a couple minutes left. If people are interested in taking a look at your work or seeing what you got coming up, where can they go and find you?

Trent Larson 27:48
I Right now I'm on Instagram. It's T dot Larson, art, L, A R, S O N, A R T. I have a website too. It's arterial llc.com, it's kind of under construction periodically. So because that is gonna get great, we're still developing,

Dan Bulgatz 28:08
and I want them, the viewers, to know as well. You're also a tattoo apprentice right now, very soon to be a full time tattoo artist for

Trent Larson 28:15
the inky dragon tattoo on Flamingo indicator, and we'll get you inked up. And yeah, blow glass too. If you check out house of Boro on Instagram, we're on there. It's our glass bowling studio with like, it's like a collective of artists. It's cool. So I'm out there doing all kinds of stuff

Dan Moloney 28:32
that's so cool. And if you're interested in checking out some of the projects we talked about, all of our projects are on graffiti park.org, forward slash projects. You can find Roy Martin Middle School, Las Vegas Motor Speedway, basic high school, as well as on there all those projects we've worked with with Trent. So you can check those out. They're also in his Instagram.

Trent Larson 28:51
So that video was great. The Raceway to that was like, one of the best.

Dan Moloney 28:55
Yeah, it was a cool one. That was awesome. We got some fun media rocking and rolling, but that is about all we have for our episode today. Thank you all for listening and tuning in. If you're looking to find some more information on Trent, it's T dot Larson art on Instagram. And then on top of that, if you're interested in finding more about graffiti park, you can find us at graffiti park.org, or on Instagram at graffiti Park. Underscore. LV, Miss Anika Jones. She's rocking the Roger Federer

Trent Larson 29:28
today, ready to go, ready for chicken racket,

Dan Moloney 29:32
Shannon paddle, all the things. He's ready to rumble. But thank you all you cool cats and kittens now. Kia, you.