From graffiti to the city:

The history of a system of proliferation, invasion of space, and appropriation of place.

On the way from the street to the museum, the essence of graffiti loses its breath.

If it does not metamorphose it becomes a mutilated object, which in the best case loses its legs and in the worst, sells its soul.

The following installation is a rewriting of tags made on the city; it’s the mutation of graffiti into the invasion of space, parasiting the smallest crevices of the site. Here the gallery is implicated as the active support of the intervention, a metaphor of the city.

The proliferation is pushed to the limit; the space is saturated and supra-tagged.

From this apparent urban chaos, a unitary space is born, where the floor, the walls, and the ceiling are but one, creating a loss of senses, orientation, and gravity.

Time is suspended.

A white explosion, sampled and re-transcribed as a three-dimensional equalizer: it’s the X moment of an urban aspiration, which carries the shouts of the people and of the streets.

A mirror reinforces the matrix through multiplicity, pushing the boundaries of perception and creating a spatial abyss.

It is into this frozen moment that the visitor enters.

The path which he must navigate is primarily sensory, created from the brutality of masses contrasted against the softness of their white.

Ambivalence of senses.

Organic introspection.

Cosmology of space.

A vision of proliferation, a futurist but low-tech mega-city matrix re-transcribes the architecture of an ultra-capitalist landscape.

The city below, horizontal and proletarian.

The vertical cities, middle class, columns between the two cities.

The city above, inaccessible, as a celest Jerusalem, the sky’s the limit…