Emergence and Innovation

While my academic education provided strong conceptual foundations, my artistic career accelerated through experimentation. During my studies, I developed a project that would unexpectedly gain international attention: CelloGraff.

Created in 2006, CelloGraff proposed a simple yet radical idea. By stretching transparent cellophane between elements of urban furniture, it became possible to create temporary painting surfaces almost anywhere in the city without permanently altering the environment. This ephemeral support transformed ordinary public spaces into unexpected places for artistic intervention.

The project quickly attracted widespread media interest and introduced my work to audiences far beyond the graffiti community. More importantly, it demonstrated my interest in questioning not only what is painted, but also where and how art can temporarily exist within public space.

This period marked the beginning of my professional career. It also confirmed an approach that still defines my practice today: combining technical experimentation with strong visual identity while constantly seeking new ways of interacting with architecture and urban environments.

International Exploration and Experience

As my work became more visible, opportunities to paint abroad multiplied. Travelling rapidly became an essential part of my artistic development, allowing me to encounter different cultures, urban landscapes and artistic communities.

These experiences led me to collaborate with artists throughout Europe, North America and Asia. They also resulted in my integration into the CBS Crew in Los Angeles, where I had the opportunity to exchange ideas with internationally recognised graffiti writers and mural artists. Each destination offered new perspectives, not only on artistic techniques but also on the relationship between cities, architecture and public art.

International festivals played an important role in this evolution. Painting alongside artists from different countries worldwide encouraged constant experimentation and reinforced my belief that mural painting could function as a universal visual language beyond linguistic or cultural barriers.

Travelling also profoundly influenced my imagery. Urban density in Asia, industrial landscapes across Europe and the visual culture of American cities gradually enriched my compositions. Rather than copying these environments, I integrated fragments of their atmospheres into my own visual vocabulary, contributing to the transition from lettering towards increasingly narrative and figurative murals.

From Graffiti to Contemporary Murals

Over time, my practice progressively moved away from traditional graffiti lettering toward more complex visual constructions centered on characters, environments and narrative tension. This shift did not represent a rupture, but rather an expansion of the visual language developed during my early years.

The discipline of graffiti, its speed, adaptability and relationship with public space, remains deeply embedded in my approach. However, my current work explores broader pictorial possibilities, integrating figurative elements, architectural fragments and symbolic compositions within large-scale murals.

A central evolution in my practice is the introduction of the character as a narrative anchor. Rather than focusing solely on typography, my murals now often depict human or humanoid figures embedded within dense visual environments. These figures act as mediators between organic forms, mechanical structures and architectural spaces.

In parallel, my visual language increasingly draws from contrasting aesthetic references. On one hand, cyberpunk culture provides a framework for imagining dense, technological and often dystopian urban environments. On the other, Art Nouveau, particularly the work of Alphonse Mucha, offers a structural approach to ornamentation, composition and flow.

This combination creates a tension between organic elegance and industrial density, between historical decorative systems and speculative urban futures. It is within this tension that my current visual identity has developed.

Rather than illustrating a specific narrative, my murals often function as fragments of visual worlds. Each composition suggests an expanded environment beyond the frame, where architecture, nature and technology coexist in unstable balance.

Today and Beyond

Today, I work primarily as a mural artist and visual designer, developing large-scale projects for cities, institutions and cultural events. My practice combines mural painting, illustration and graphic design, allowing me to move between physical walls, printed media and digital composition.

My current research focuses on contemporary figurative murals inspired by cyberpunk atmospheres and Art Nouveau structural principles. This combination allows me to construct images where ornamental design meets urban density, and where characters exist within complex visual ecosystems.

I continue to collaborate with municipalities, cultural institutions and private clients for commissioned murals, visual identities and public art projects. Each commission is approached as an opportunity to integrate artistic vision into a specific architectural and social context, rather than simply applying a predefined style.

My work is also supported by ongoing personal research, documented through this website. These projects explore themes such as urban transformation, visual perception, layered cities and the relationship between organic and mechanical structures within contemporary environments.

Also you can find some of my work on my Shop online who provides Wear and Print item.