On the surface, Reed's style may seem as difficult to pin down or describe as his nonconforming gender. As Reed confessed to a fellow trans performer while preparing to deliver a poem onstage at a trans fundraiser in 2022, "I use a different label for my gender almost every time I'm asked to provide one. It's not intentional, I'm just experimenting. I've been experimenting my whole life, and I think I always will be." The same can be said of his artistic style, which features a vast diversity of techniques, mediums, substrates, subject matter, emotions, intentions, and color pallets. His works may be digital, watercolor on 11x14-inch paper, oil on 36x48-inch stretched canvas, or a two-story graffiti mural spray-painted onto the side of a building. But there are some consistent stylistic choices that signify each work as "very Arien." For instance,  his works consistently feature realism—particularly portraits and figurative works derived from live or photographed transgender models—with occasional abstract backgrounds, if there is a background at all. Looking through his works, one can also feel his preference for femininity and nonconformity. And there is no mistaking the fact that his tones and hues tend to comprise vibrant colors, negative space, deep contrasts, and color pallets that (if restricted at all) are monochromatic or are restricted to pride flag colors, such as trans pride, non-binary pride, bisexual pride, and others.

The capital letter A in his signature has been increasingly resembling the anarchist symbol as he learns to embrace the chaos of his fluid gender. The dot in the lower case letter i is not a dot at all, but upon close inspection, can be found to be in the shape of a tiny heart. As Reed once stated in a poem, "Love is at the center of everything worth doing" though he has also confessed that he experiences insecurity that the heart symbol is cliche, even though all of his art does come from his heart. Before his gender transition, he used to sign his hobby art with a heart replacing the middle letter in his deadname, and since changing to his true name, he wanted to retain the heart within the middle of his signature as a momento of his origins. 

One will find Reed's love of music, dance, and flowers within how his subjects are portrayed. Human hands are also a common feature within his works. While creating "Deliverance" (a painting featuring approximately one thousand hands) with fellow artist, Laurel Temple, he confessed, "I'm not sure why I so often feature hands. I don't even like drawing hands. Maybe it stems from having been abused and manipulated throughout my childhood, attacked and threatened by strangers due to my small size, nonconforming expression, and/or uncommon gender, and now, watching almost every state in our nation controlling or criminalizing being trans or being a person with a uterus. Since I can remember, countless abled-bodied, cisgender, white strangers and loved ones have treated me more like a possession than a person—hurting me, controlling me, trying to change me, forcing things on me, taking out their own repressed pain on me, asking me intrusive questions they wouldn't ask other people, and deciding what was best for me without ever consulting me. I guess, in a way, I've always felt like there are countless hands on my body, and I just want them to let go. Maybe if I hold up a mirror, show them their actions from their victim's perspective, maybe they'll take a step back and think about their reflection."