Felipe Pantone

Kinetic abstracts explore time and technology in a post-internet world.

man with mask on as he adds paint to a colourful canvas hung up in front of him
Felipe Pantone sat on a chair facing away from the camera
rows of colours and paints lined up on a surface in the artist's studio
4 images

Filipe Pantone was born in 1986 in Buenos Aires, Argentina and raised in southern Spain. He now lives and works in Valencia.

Did you know?

Beginning his career as a graffiti artist, public art remains central to Pantone's practice, with large-scale murals in cities across the globe including Lisbon, Bangkok, New York, Monterrey and Moscow.


In addition to murals and high-profile commissions, such as one for Facebook's California headquarters, the artist has exhibited paintings and sculptures in prestigious institutions such as Paris' Palais de Tokyo.

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Practice overview

Pantone, also known as Pant1, is renowned for his glitchy abstract patterns which draw from digital culture of past and present. Combining monochrome geometry and pixelated multicoloured neons, the works reference early video games, 80s Synth Pop and noughties Emo and Scene Kid subcultures. This nostalgic retro futurism is central to Pantone’s practice, exploring notions of futurity in a post-internet age. The artist is not only influenced by the internet, but he also uses it as a material. The 2018 online project, Configurable Art, enables the viewer to build their own work. A sidebar holds a selection of Pantone’s designs which the user can drag and drop to create their own unique compositions. By transforming viewers into creators, Pantone destabilises a singular artist-artwork relationship, and instead creates a platform for collaboration powered by technology. By sharing his practice to whom-ever may choose to use the website, the work performs an act of democratisation which calls back to the libertarian and anarchist origins of the internet itself.

Movement is essential to the works. While most of the 2D works are hand-painted, the fuzzy edges and dissolving rainbow hues have a palpable sense of speed. Murals like Chromadynamica for Monterrey (2017) and Ultra-Plasticism (2016) for example, evoke the relentless transience of our phone screens with dizzying clusters of vertical and horizontal stripes recalling the endless downward scroll of a newsfeed, or the left and right swipes of a shameless Friday night Tinder-binge. In an electric study of our ever-changing world, Pantone’s oeuvre is locked in constant motion: a relentless shift between time and technology, monochrome and technicolour.

“Everything goes through your fingers, everything’s liquid, everything’s kinetic.”Felipe Pantone