The artist has looked, really looked, at objects other men pass by without a second glance. He has thought about their uses as cultural metaphors when other men have taken them for granted.

A mere glance at many of the artist's paintings reveals the irony. His works are the products of long, concentrated, unblinking contemplation.

Rez's father was often on the road on business. When he would return to his family, he would bring candies for his children. Some of Rez's earliest memories as a young boy are of his father reaching into his pocket and pulling out treats - candies wrapped in colorful and glittery packages covered with intriguing words and images. Exotic objects from distant cities – visual memories to last a lifetime and bankable images to draw upon in later years.

Not all artists have a compulsion to make art. Not all the schoolboy notebooks of even the most celebrated artists are filled with furious doodles and drawings, executed in a white heat or with absentminded insouciance. Rez's books and notebook are all covered with his doodles.

Some artists must think through the pencil in their hand. Others think and then,
sometimes reluctantly, pick up the pencil; Rez could do both.

* "Since childhood, my mind never stood still, and my hands followed.
I doodled non-stop. I'd doodled in all my classes. All my books and notebooks were covered with my doodles. Like dreams and abstract art, doodling is a subliminal abstract thought pattern transformed into images on paper. A doddle starts with no preconceived notions, but soon, it becomes the start of something that builds on itself. It's like finding a hidden passage that keeps going with intriguing discoveries that never really end."

Rez has always been driven to draw. As a young child, his talent was recognized by teachers and others. But becoming an artist was not encouraged, while a career in one of the "practical" professions was more highly regarded and paid. Despite the lack of encouragement, Rez persevered on his own.

As a young boy with a meager monthly allowance of $2, he would spend it all on affordable drawing paper and Conté crayons. As buying paints and brushes was way above his budget. He would carefully cut the paper in two to create two drawings and thus make his money stretch.

Some of his earliest childhood charcoal drawings were those of more iconic artifacts of mass culture - portraits of Western movie stars. He used photographs in fan magazines as models.

A seed was planted when people began reacting enthusiastically to his drawings and winning top prizes in numerous competitions. Perhaps he had a future as an artist.

Rez was determined to have a career as an artist. At college, he majored in graphic art.
After college and without any prior experience, he acquired his first job as a graphic artist solely based on his “can-do-it-all” personality, talent, and the strong portfolio he had created with his college assignments.

Along the way, he produced visual news graphics and computerized animation for a major television station network NBC and WTTG5, Metromedia corporation and worked as an art director for an educational motion picture company. His interest in creating digital art and videos to complement and comment upon his paintings is honestly come by.

Rez quickly rose to own and operate a multi-million-dollar graphic art and communication company, REZ Inc. International (REZcorp), in Washington, D.C. His extraordinary business success only whetted his appetite to pursue his love for art as a painter. He and his girlfriend took a month-long romantic trip to Guadalajara and the West coast of Mexico. They married in “Puerto Vallarta” was made world-famous by Elizabeth Taylor and Richard Burton, and honeymooned in the Las Hadas resort, made world-famous by the movie “10.”