RETNA’s art combines a timeless and ancient sense of the familiar with the deeply modern through his sophisticated reimagination of symbols that seem to have been born from the very depths of humanity's urge to communicate. Drawing inspiration from a diverse range of typographies, RETNA incorporates ancient symbols with contemporary urban influences, resulting in a personal form of poetry that is visually striking and deeply symbolic. His works offer a multi-sensory experience that combines auditory and visual elements, making them dynamic additions to any art collection.

The visual aesthetic of RETNA’’s prints and paintings is immediately recognizable: bold, monochromatic palettes punctuated by occasional bursts of color, often red or blue. The strength of his artwork lies in the visual interplay between his densely packed lettering and the blank spaces surrounding it. Each composition exhibits a sense of balance, harmony, and movement, echoing both religious manuscripts and tribal iconography. This rhythmic flow of symbols forms a mesmerizing and hypnotic pattern, imbuing his pieces with a sacred, almost spiritual quality. Retna’s prints, paintings and murals exude an aura of mystery, drawing viewers into an aesthetic universe that feels both ancient and futuristic.

His technique is deeply rooted in graffiti, a practice that taught him how to manipulate line, form, and structure in large-scale formats. Working primarily with spray paint, acrylic, and enamel, he applies his signature script in layers, building a textured surface. His process involves both spontaneity and precision, as he crafts each character with an assured hand, maintaining the structural integrity of his intricate designs. This unique approach allows Retna to transform walls, buildings, and even airplanes into monumental works of art that dominate the landscape. His murals, whether covering buildings in Los Angeles or appearing on the facades of European galleries, command attention through their monumental scale and meticulous craftsmanship.