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Felipe Pantone

Buenos Aires, Argentina, 1986.

Pantone began his artistic practice since he was a teenager, making graffiti in Torrevieja, in the south of Spain. Calligraphy and typography, fundamental to graffiti, were the platform whence the artist started to develop an abstract and geometric visual language that pretends to be accessible and democratic, in a manner parallel to current technological discourse. Just like printing in the early Renaissance maintains a historical connection with today’s 3D printing, Pantone’s work retains the public vocation of graffiti, of urban communities in dialogue with the city itself. Abstraction, at first used as stylistic branding, poured towards the referents of a present time full of infographics, statistics, and visual representations of data that synthesize vast realities into quickly apprehensible formats.

Pantone, in this sense, constantly reproduces the saturation of our contemporary visual experience, making important echoes of the modernizing work of kinetic art and its research of perception based upon current theories of sight. Today, in that accelerated world of industrial production (of light, of color, of previously impossible visual experiences), Pantone unbalances kinetic art’s naturalist discourse in order to give back cultural insertion to perception, the recognition of a certain type of chromatic combination as a glitch, as a technological failure, or of another combination as a code underlying the functioning of any paper printer, and no longer as experiences beyond culture.

Among his most prominent public installations are found the murals commissioned by the Palais de Tokyo in Paris (France), the mosaic for the Polytechnic University of Valencia (Spain), the murals of the Tecnológico de Monterrey (Mexico), and the mural Optichromie at the Albright-Knox Art Gallery in Buffalo (US).

Felipe Pantone currently lives and works in Valencia, Spain.