“Much is made of the relationship between cave art and graffiti. Yes, both have a wall as a support. Yes, we humans seem still very primitive. But it is just that. There was a need for representation and understanding of the outside world; here, there is a need for affirmation of an inner world. There, he tried to create rules. Here, there transgression. There was no written and perhaps the design were the only visual means of communication. Here, writing is the origin of everything.
The graffiti in English takes its name from “writer”. And the tag as it is called the signature of the graffiti artist, is the language from which all the aesthetic of graffiti developed. Sliks is a scholar this calligraphy that puts into practice. You often come across one of your tags through the streets of São Paulo. It is a daring, a single color, no outline. The rapid movements of the hand, the arm, the correct finger pressure against the nozzle spray angle and distances between the can and the wall. It determines the result. Such as synthetic complex, the tag carries such a respectable tradition and the traditional high art, it is the perfect junction between the mastery of technique and aesthetics. That past art critics imagine that a pressure vessel designing an inkjet change everything?
For nearly 5 decades, generations has been using and improving spray to create new aesthetic. Sliks track this way. Your search overflows the tag of calligraphy. He plays with the graffiti of languages at its boundaries, creates three-dimensional universes with multicolored plans, textures with writing overlays your drained come to life, his paintings have own gravity.