This particular untitled work is an example of Skullphone’s shift from black and white street installations into works on polished black aluminum panels with a palette of red, green, and blue. Dots created with a pigment filled syringe are placed with extreme precision and uniformity to create this iconic motif by the artist. With each point of color placed in a grid system that mimics LED panels, Skullphone continues his commentary on digital signage and its effects in mass media applications.

LA based graffiti artist Skullphone emerged on the street art scene in 1999 with his trademark image of a bold, black-and-white skull on a cell phone. The playful image, said to be a self portrait, has been branded through repeated productions and recontextualization in print and on streets across the country, garnering a strong following among street art fans. His controversial “hack” into the first digital billboards in Hollywood to display his work gained much public attention with coverage by mass media such the LA Times, and he has since continued his exploration with themes of outdoor digital signage, targeted advertising, government vs. private enterprise signage, and the proliferation of media. Recent solo exhibitions in NY and LA galleries including at the Fuse Gallery, NY (2012), and Subliminal Projects, LA (2010), reflect favorable public reception of his transition from street art into printed works.