There is a layer of profound isolation and alienation in Brooks’ work. It is one typically found and bred within the suburbs. The shrubbery, ice cream, and fences all seem to intimidate. Brooks notes that what irked him about living in suburban Kansas was the knowledge that “it was a created, synthetic reality that everybody just agreed to.” His work details that artificial, plastic reality perfectly.
Brooks mostly finds inspiration from his family (namely Mason, Corbin, Logan and Griffin). Brooks is the oldest of thirteen children, though has found a massive swell of support from his family, sometimes to the point of embarrassment. He says, “They are literally the funniest people I’ve ever met and can just absolutely shred the shit out of anything that’s trying to hide it’s actual nature.”
He is also inspired by, among graffiti writers and skateboarding graphics, the work of painters such as Philip Guston and Peter Saul, with whom Brooks shares a tendency toward thin lines and explosive use of color, as well as a showcase of existential dread.