Active since 1983 in Amsterdam and New York, is considered one of the most internationally renowned female pioneers of graffiti writing. Lettering immediately became the core of her artistic inquiry, dedicated to the deconstruction and reconstruction of the alphabet—the foundation of the graphic language she continues to use today. In the early 1990s, she came into contact with the New York scene, meeting writers such as Lady Pink, Seen, and Dondi. Her experience in New York confirmed in her style how lettering, space, and rhythm could connect across different cities and cultures. Mick La Rock’s practice extends to sculptural installations and paintings that reflect her roots in writing, characterized by alphabetical forms, spatial tensions, and architectural languages stemming from her geometric research. In parallel, Mick curates exhibitions and projects on the history of graffiti, bringing together artists, stories, and ideas, creating a bridge between street culture and contemporary art.

Merges engineering and art by designing machines that craft intricate geometric patterns. Among his inventive tools are custom-built ink plotters, contraptions that burnish gunpowder, and devices that blow powder pigment onto canvas with cannon-like precision. This interplay between mechanical precision and raw materiality introduces a captivating tension between automation and the artist’s human touch. Antigoon’s creations emerge from a “dance with the machines,” where these diverse tools actively shape the final artwork.

He has been creating graffiti since the mid-1980s. He study at the Gerrit Rietveld Art Academy in Amsterdam and graduates in 1998. His work mainly consists of abstracted typography, the dimensional approach and style of lettering could be considered his artistic signature. His current work remains deeply connected to the pure language of writing, while continuously researching and exploring new mediums and expressive formats. His practice has become increasingly socially engaged, intervening in public space through large-scale murals and installations that engage the public as an integral part of the artwork. His collaboration with MUA (Maurer United Architects) between 1999 and 2002, led to the realization of the concept of “graffiti-architecture,” which gave rise to a series of monumental sculptures in the public space functioning as street furniture.

He is an Italian artist and graphic designer who has lived and worked in Amsterdam since 2004. He is known for a multidisciplinary practice rooted in graffiti and post-graffiti culture, spanning painting, installation, textile design, and publishing. In the early 1990s, Monfeli found in Rome’s underground railway network a playground with Roman writers and others. From there, the city itself became working material. Monfeli began illegally painting refrigerators and abandoned kitchens on the street, transforming them into urban installations. This gave rise to Why Style, a collective that constructed and painted structures made mostly from reclaimed street materials, creating installations that also served as backdrops for skateboard photography. He studied graphic design and applied arts, briefly attending the Academy of Fine Arts in Rome before leaving it. In 2002, he published “Just Push the Button”, a photographic and textual narrative of the 1990s Roman graffiti scene he belonged to. In 2011, Damiani published People Think I’m Cool, a monograph on his life and work.

A writer, engraver, and painter experienced in working with diverse materials—ranging from terracotta to recycled metals (iron, copper, zinc, and tinplate)—he experiments with oxidation and the engraving of acrylic paint layers on sheet metal. Artistically, he positions himself within the post-graffiti movement, experimenting with engravings and sculptures created from railway scrap. Over the years, he has produced various commissioned murals in Italy and abroad, collaborating with municipal authorities and cultural associations.