​​

Biographical Notes

Since they gave birth to the artistic association "Topsprayers" they have become the undisputed protagonists of the evolution of writing, a discipline that most believed to be static and a prisoner of its own unwritten rules since the mid-70s.
Staying faithful to classic surfaces, walls and trains, and without making commercial compromises, the duo have, without exaggerating, changed the rules of the game.
Starting from the "International topsprayers" project (1000 trains in 3 years exchanging names) and passing through the "Splash" up to "Corporate identity", I am  been able to enter jurisprudence (it is no longer possible to univocally attribute a specific signature to a single writer), undermining the dogma according to which writing necessarily means "letters". Revolutionary results due to an incredible constancy and prolificacy, as well as to the wise management of the media. Since 2014 Moses and Taps have exhibited their works in galleries and museums both by transporting their research on classic media, such as canvases and papers, and through the documentation of the work carried out in the public space. They are among the most important artists of the panorama linked to urban art to claim the use of trains as a unique and irreplaceable support to realize their art.

Since they gave rise to the artistic association Topsprayer, the collective became the undisputed protagonist of the evolution of writing, a discipline that most people considered static and prisoner of its own unwritten rules, since the mid-70s.
Staying true to the classic surfaces, walls and trains, and without compromising, the collective became game changer, without fear of exaggeration.

Starting from the “International TopsprayerTM” 1 project, passing through “Splash”, up to “Corporate Identity”, they were able to influence the jurisprudence2: it is no longer possible to univocally assign a specific signature to a single writer. And they have in this way undermined the dogma that writing necessarily means "letters". Revolutionary results due to an incredible constancy and prolificity, as well as the wise management of social medias. Since 2014, Moses and Taps exhibit their works in galleries and museums, both carrying their research on classical supports, and through the documentation of works done in public spaces.

They are among the most important artists of the urban art scene to claim the use of trains as an ideal support for the realization of art works that could not exist elsewhere.
For Vicolo Folletto Art Factories Moses & Taps proposed a video installation and a canvas. The installation refers to the circular process of making graffiti and their subsequent removal by the buff3, using spray paint first, and then a spatula to scrap it away4.

The series called “Scratchiti”, which the video belongs to, expresses the interaction between the process of realization of paintings and the one of their destruction; this ephemerality is then transferred to a classic medium, the canvas.
The works exhibited represent two different research moments: ephemeral works in the public space, which can be placed within the market and into institutional shows only through their documentation, and works on classic supports where the research carried out "outside" can be expressed without the work being subject to rapid destruction.