Felipe Pantone

Felipe Pantone’s kinetic abstractions explore time and technology in a post-internet world. 

Pantone, also known as Pant1, is an Argentinian-Spanish artist renowned for his glitchy abstract patterns which draw from digital culture of past and present. Pantone began as graffiti artist, and now his colossal murals have taken over public spaces in cities across the world including Lisbon, Bangkok, New York, Monterrey, and Moscow. The artist has also exhibited at prestigious museums like Palais de Tokyo in Paris, and even received a commission for Facebook’s headquarters in California.



  • Big Time Data, solo show at Galeria RGR, Mexico City, 2020
  • Dream Box, group show at MIMA Museum, Brussels, 2019
  • Configurable, interactive online artwork, launched 2018
  • Transformable Systems, solo show at Joshua Liner Gallery, New York, 2018
  • Artifact to Human Communication, solo show at Underdogs Gallery, Lisbon, 2017
  • Mural at Duplex A86, for Lasco Project #5 at the Palais de Tokyo, Paris, 2016

With his trademark combination of monochrome geometry and pixelated multicoloured neons, Pantone references early video games, 80s Synth Pop, and noughties Emo and Scene Kid subcultures. This nostalgic feel of  retro futurism is central to Pantone’s practice, exploring notions of futurity in the age of the internet. Pantone’s sculpture lathers his signature aesthetic onto clean 3D objects reminiscent of Minimalist artists like Anne Truitt and Donald Judd.

"Everything goes through your fingers, everything’s liquid, everything’s kinetic"

Pantone is not only influenced by the internet, but he also uses it as a material. In 2018 the artist launched an online project, Configurable Art, where the viewer can “build [their] own” work of art. On the website, configurableart.com, a sidebar holds a vast selection of Pantone’s designs. The user is able to drag and drop these elements to create their own unique compositions, of which there are infinite possibilities.

By transforming viewers into creators, Pantone destabilises a singular artist-artwork relationship, and creates a platform for collaboration powered by technology. As a result, the work performs an act of democratisation, sharing Pantone’s practice to the many, and evoking the libertarian and anarchist origins of the internet itself.

"Art is where you can say things you couldn’t say otherwise"

Movement is key to Pantone’s practice. While most of his 2D works are hand-painted, the fuzzy edges and dissolving rainbow hues have a sense of speed as if frozen mid-motion. 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.

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