When I was younger, I often went to my grandmother’s village. Those were long car rides on an empty highway, through fields and tree lines. I would sit in the backseat, listening to music in my headphones and watching the trees flash by the window. For some reason, in those moments, I would very often imagine something huge moving outside, parallel to the car.
I imagined it as a creature of unknown nature, constantly changing its shape, color, and properties to match the rhythm and character of the music playing in my headphones. Sometimes it was a giant jumping on springy legs over road signs and poles. Then it would turn into a fish-like form, gliding quickly in figure eights between the trees. Or it would just become an abstract shape, rhythmically changing its outlines, stretching and contracting to the music.
Something that moved with me, creating a feeling of something new, yet at the same time, like an old friend.
I happened to learn that this is a collective memory - a kind of universal childhood experience. You can find various mentions of it online if you look up something like “imaginary character running beside car.”
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“A Love Letter To Graffiti” is an interactive art project that transforms the essence of graffiti into a digital, participatory experience. It offers a simplified simulation of the artist’s creative process, where spontaneous ideas form new and unforeseen connections. Using a gamepad, audiences actively engage with the evolving visual dynamics, navigating an abstract, meditative journey that mirrors the core characteristics of graffiti: spontaneity, abstraction, ephemerality, and temporality.
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