Stencilling with spray cans evolved as a new medium of protest articulation in the early 1980s, Paris is said to be its urban germ cell. The phenomenon then became better perceived and at the same time cross-linked via the amplification through the Internet. Similar to the development of Rock Music posters stencilling is suited to observe that media of (protest) distribution can easily transform into media of success.

 

The technique is simple: The serials are realised by cutting out cardboard (like Bristol) or plastic leafs, then acting as the negative through which a colour is spray-canned up on paper or a wall. The technique seems to be one of the oldest illustration forms, the earliest examples consisting in silhouettes of hands which were found in caves and realised by blowing stone dust through those hands leaning against a wall. Considering light as a very special type of non-permanent eco spray paint, the roots of serial mural painting might as well be seen in stereotomic diaphanous architecture. The exciting artistic essence of this technique for me consists in its vividness and simplicity of making empty space tangible.

 

You are the machinery... and the wrench...