Queen

ABSTRACT GRAFFITI These figurative works, which I call Abstract Graffiti, constitute a painting practice that investigates the relationship between gesture, body, repetition, urban surface, and visual identity. The works reconstruct a visual language belonging to the public space on wooden panels, by bringing graffiti's direct and personal act of marking 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, obscuring, revealing, and partial erasure of different colors evoke the visual memory of urban walls that have been painted over, weathered, and rewritten countless times. The surface thus ceases to be the passive ground of the painting and becomes an active field that carries its own past, upon which new marks are added. The acrylic tag marker I use on this surface removes the line from being merely a contour. While drawing the boundaries of the figures, I follow the continuity and rhythm of a tag action, 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. For this reason, the line is, before being a means of representation, a bodily trace, a record of gesture and action. This approach enters into a dialogue with the historical legacy of Jackson Pollock's gestural understanding that 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 the visual language of these artists, but to rethink the shared performative roots of the abstract expressionist gesture and the graffiti tag within a contemporary figurative system. As the line repeats, the figures multiply. Faces, bodies, and organic forms that emerge side by side, layered, and intertwined are never exact replicas of one another. Related figures that derive from each other 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 that multiplies within itself. Particularly, the convergence of forms that evoke the human and the animal further blurs the fixed and definitive boundaries of identity. Here, the "signature" quality of graffiti also transforms. The tag is normally the act of making the artist visible in public space, of saying "I was here." In my practice, however, this personal mark multiplies as it repeats, turns into the boundary of the figure, and eventually begins to dissolve individual identity within an anonymous visual crowd. The signature transforms from identity into pattern; from pattern into body; from body back into a mark. The colored and patternless area I leave around the compositions creates a second context for this transformation. Operating as a kind of mat, this area implies a piece of wall detached from the street, or the reframing of a public surface within a gallery. Thus, the work is positioned 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 transposes 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 by the layering of body, mark, memory, and movement. Painting here transforms less into the representation of an image and more into a record of a continuous process of becoming that unfolds on a surface.

• Painting Type: Acrylic
• Year: 2026
• Style: Abstract
• Subject Matter: Figure
• 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: 7
• Certificate: Certificate of Authenticity, Artist Certificate