Prominent actor of the wave of Milanese street art of the early 2000s, a phenomenon unique in the world, in the following years he evolved and directed his research towards a completely different aesthetic, gradually more minimal, in shapes and colors. In recent years, after a parenthesis that combined the figurative with the informal, 2501 has devoted himself assiduously to the creation of abstract works that exploit the contrasts created by black and white.

 Tireless experimenter in painting techniques, he gave extraordinary importance to the use of tools that made the realization of the works even more particular and full of ideas: brushes of all shapes and sizes used as brushes and extravagant "machines", guarantee his traits and his compositions a chance that makes them even more particular and difficult to reproduce.
 Thanks to the use of “The Machine” 2501 brings the theme of parformance back to the gallery: the works thus created are in fact closely linked to the “here and now”, to the context. Vicolo Folletto Art Factories therefore hosts this moment to underline how urban art has very strong points of contact with the performing arts of the 60s / 70s; moments of overlap that can be sought both in the most radical practice, that carried out in the streets and without authorizations, but also in the declinations that see the gallery as the most suitable environment to continue the path and the reasoning started in the public space.
 
 Leading actor of that unique phenomenon that was the Milanese street art of the early 2000s, he later evolved, directing his research towards a more and more minimal aesthetic.
 In recent years, after a parenthesis that combined informal and figurative, 2501 has devoted assiduously itself to the realization of abstract works, that mainly exploit the contrasts created by black and white.
 His main field of study is a creative process that transforms the limits into resources, and in this perspective, the artist selects the tools to be used as a consequence: spatulas of all shapes and sizes used as brushes and special "machines", guarantee his traits and his compositions an absolute uniqueness.
 The space-time limit, experienced in painting in railway depots, the limit in the availability of colors, the absence of a sketch, the patterns and the irregularities of the surfaces become the cornerstones on which to develop the works, abandoning any preconceived idea.
 Painting is understood as a representation of pictorial time, that is, a representation of the moment and conditions where the painting is created, under any circumstances.
 In this research context, "La Macchina" represents the process that takes the form of a sculpture with a defined function: modulating in real time a sound wave through the black graphic signs applied by whoever is using it, on a given white surface
 in movement. Thanks to the use of “La Macchina” 2501 takes back in the gallery the theme of the performance: the works thus created are in fact closely linked to the “here and now”.