Mutation1

ABSTRACT GRAFFITI These figurative works, which I call Abstract Graffiti, are a painting practice that investigates the relationship between gesture, body, repetition, urban surface, and visual identity. The works reconstruct on wooden panels a visual language belonging to public space, by bringing the direct and personal act of marking in graffiti into dialogue with painting's historical understanding of gesture. The surfaces I create with acrylic paint on wooden panels are treated not as the background of a single image, but as layered and continuously transforming palimpsests. The overlapping, covering, revealing, and partial erasure of different colors evokes the visual memory of urban walls that have been painted, worn, and rewritten countless times over. The surface thus ceases to be the passive ground of painting; it becomes an active space that carries its own past, onto which new marks are added. The acrylic tag marker I use on this surface takes the line beyond being merely a contour. While drawing the boundaries of figures, I follow the continuity and rhythm of a tagging act by lifting my hand as little as possible. I do not "draw" predetermined figures in the traditional sense; I establish a direct relationship between the movement of the hand and the emergence of the figure. The line is therefore, before being a means of representation, a bodily trace, a record of gesture and action. This approach enters into dialogue with the historical legacy of Jackson Pollock's understanding of gesture — which transforms the painting surface into a field of bodily movement — and Jean-Michel Basquiat's street-derived language of signs, writing, figures, and direct drawing. However, the aim here is not to reproduce these artists' visual languages, but to rethink the shared performative roots of abstract expressionist gesture and the graffiti tag within a contemporary figurative system. As the line is repeated, figures multiply. Faces, bodies, and organic forms that emerge side by side, overlapping, and interlocking are never exact replicas of one another. Kindred figures derived from one another behave like variations and visual mutations. The singular figure gradually loses its importance; in its place emerges a collective body, an anonymous crowd, or an organism multiplying from within itself. The convergence of forms evoking the human and the animal in particular further blurs the fixed and definitive boundaries of identity. Here, too, the "signature" quality of graffiti transforms. The tag is normally the act of making the artist visible in public space — saying "I was here." In my practice, however, this personal mark multiplies through repetition, transforms into the boundary of the figure, and ultimately begins to dissolve individual identity within an anonymous visual crowd. The signature turns from identity into pattern; from pattern into body; from body back into a mark. The colored, patternless area I leave around the compositions creates a second context for this transformation. Operating like a kind of mat board, this area implies a fragment of wall torn from the street, or the reframing of a public surface within a gallery. The work thus positions itself on the boundary between public space and institutional art space, between the free mark and the framed art object. Abstract Graffiti, in this sense, goes beyond being a series that brings graffiti aesthetics into painting. The works investigate how gesture produces identity, how repetition transforms individuality, and how marks left on a surface become a form of visual memory. The figures that ultimately emerge are neither purely portraits nor purely patterns. They are visual organisms formed through the superimposition of body, mark, memory, and movement. Painting here transforms less into the representation of an image and more into the record of a continuous process of becoming unfolding on a surface.

• Painting Type: Acrylic
• Year: 2025
• Style: Pop Art
• Subject Matter: Abstract
• Surface: Wood Panel
• Dimensions: Width: 70 × Height: 100 × Depth: 0.04
• Orientation: Vertical/Portrait
• Frame: Unframed
• Color Palette: Multicolor
• Technique: Brush Work
• Finish: Varnished
• Signature: Signed
• Condition: Excellent
• Authenticity: Original
• Edition: Edition Number: 1
• Certificate: Certificate of Authenticity