Layers of paint, spray paint and markers constitute a certain depth and intricacy in his works. Rough designed and impulsive scratched surfaces commemorate primitive caveman markings and drawings on walls to assert human existence across time. Within his altered practice he focuses on the beauty of tagging, dripping, as well as transience. He uses wild and illegible tags, throw ups and deliberate drips only as a formal aesthetic tool. In deconstructing subcultural and semiotic codes, Tilt plays with the decontextualization of writing, textures and intensity. The compositional layers are sensibly chosen in its colors and dynamics, in order to create a piece of deconstruction, disintegration and juxtaposition. The heavy heritage of the graffiti tradition is used as a tool to evoke a representation or memory of a rebellious as well as anarchic act of a past era of subculture. The new works of art constitute a synthesis between exterior and interior space. Tilt’s series critically questions and pinnacles the challenge of the institutionalization of graffiti. In contrary, by hanging a re-enacted wall fragment in an exhibition space, a „sacralisation“ of graffiti occurs.
Tania Di Brita