My projection work starts with graffiti, but the wall is never touched. Instead of using paint, I use light.

I draw my tags and letterforms digitally, then project them onto buildings, streets, abandoned spaces, and public surfaces. Once the image is in place, I photograph it. The final piece is the photograph itself, capturing a moment where the mark exists but leaves no physical trace behind.

This process keeps the spirit of graffiti intact. It is still about placement, scale, visibility, and the act of writing in public space. The difference is that the intervention is temporary. The mark appears, occupies the surface for a short time, and then disappears completely when the projector is switched off.

That temporary quality is central to the work. Graffiti has always involved a tension between permanence and removal. Walls are painted over, buffed, and erased. By using light, I reduce the act to its most basic form: a mark that exists only while energy is being applied.

The work also reflects my wider interest in Binary Zoom Theory, which looks at how complex structures emerge from simple divisions. In practical terms, this means treating the projected image as both a tag and a signal. It is a visual interruption that briefly changes the meaning of a space without altering it physically.

Projection-based graffiti allows me to engage with the history and language of graffiti while opening up new possibilities. It keeps the act of writing in public, but replaces paint with light and permanence with a temporary presence.