Graffiti, unless in the context of impermanence, can not really be called Graffiti - as defined by the modern movement begun in New York City in the 1970's. This proposal seeks to recreate that vital impermanence relationship through the use of recreating art work that can not truly be owned in its complete form but rather only in part, with some of its constituent whole disappearing. Much like the foundation works on New York City subways that gave birth to the original movement, and for which none of these subway "pieces" are still around yet still revered as the origin masterpieces only preserved in photo, this installation recreates the idea that the artwork's purity can be found in its fleeting nature to varying degrees. Without some element of this impermanence, the value that comes from rarity and the willingness to part with some element of the whole leaving only artifacts of the original, such as photos are today to the early pieces of the movement, there can be no true attainment of temporal value and transcendence above work in stasis, and no living evolving aspect to the pieces as they can only be viewed in whole for a brief moment - with some of the piece disappearing from the gallery walls and the rest of it being able to be owned as memories only of the complete rarified experience.

This art installation series is conceptual as well as contextual, in that it relies completely on it being placed on and in surroundings that will actually become "inhabited" with the art itself and form the chain linking the pieces together as a whole, inevitably to be broken at disassembly and sale of only some of the selected parts. It's "Hyper-Gestalt" in that not only do the sum of the parts equal more than the whole, but even more so in that the sum of only part of the "parts" equal a greater quantity than the whole. The "golden" concept of Impermanence is only realized at this point where only some of the parts are available for preservation and appreciation, whilst the other parts which were painted onto the display space itself are rendered impermanent and unavailable for sale or ownership. This perfectly duplicates the relationship of Graffiti in the real world and thus recreates the action and greater fleeting value of a representation of Graffiti in a presentation space, to be owned as relics and artifacts of an experience not just a painting. Without impermanence there can be no link to the past of this movement and therefore no through-line from the present to the future. With the most dynamic and "progressed" styles to date illustrated, this concept is fully realized and embodied within the installation piece.

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