There is something deliberately seductive about GRAFFITI.
The words are the first thing that draws you in. They are swollen, glossy, almost gummy; they look as though they might give way under your fingers. There is something edible about them too, closer to candy than to conventional lettering. You want to touch them before you have really considered what they say.
That physical attraction is important. PORNOBUNNY uses it to bring the viewer closer to messages that belong to a very different register: visibility, identity and the freedom to occupy space. The graffiti artist, spray can in hand, becomes the figure through which these messages enter the work.
In FEEL THE RAINBOW VIBES, colour refuses to stay politely inside the picture. The rainbow crosses the background and carries on across the frame, while the lettering pushes physically out from the surface. Image, object and message begin to occupy the same space.
There is also something inherently precarious about graffiti. It can be covered the following day, painted over or removed altogether. That possibility of erasure gives the work another resonance. Queer visibility has its own history of appearing, disappearing and having to be asserted again, and rights that once seemed secure can prove less permanent than expected.
But a wall can be written on again.
In GRAFFITI, that simple gesture matters. Leaving a mark becomes a way of saying: I was here. I am still here.