Painting for Ross is primal, not intentional, and developed from his desire and necessity to find reason amidst the hostility between two highly conflicting sides of his mind. His work draws inspiration from both masters of minimalism and pioneers of chaotic abstract expressionism. He is highly influenced by architecture, form and space, psychology, mathematics, the anatomy of human lifeforms and the non living, the physics of cause and effect, the decay, failure, and subsequent restoration of American Metropolis's, are all irreplaceable components and underlying themes in his paintings. His work creates calculated visual paradoxes and conceptual oxymorons through visual coexistence's of contradictory movements and methods, unconventional marriages of conflicting color palettes, asymmetrical linear geometry, abstract minimalism, and numerical and alphabetical symbolism. His technique is more inherent than it is learned, and is derivative of his embracement of the relevance of the counterbalance of dark and light emotion, expressed through a marriage of calculated scientific rationality and pure chaotic experience. Through the use of a wide variety of materials, and applied predominately with his hands and minimal employment of traditional tools, Ross moves swiftly in order to minimize any dilution or omittance of subliminal evocations between his mind and the chosen object of physicality. Ross applies soothing textural tension, visual decay to convey timeless beauty, and the juxtaposition of unsettling and uplifting shapes, forms, color palettes and imagery to conceptualize light and dark emotions in a confined space. The result is a symbiotic disharmony of color and subject matter, which Ross identifies as an invaluable interdependence that creates a timeless sense of beauty achieved through an alliance of traditionally polar opposite visual ideologies.