Clarity, 2025

Kaser  

Acrylic aerosol / brush and gold leaf on canvas — 100 × 100 cm — Unique piece
Intent note — Clarity
Clarity is part of a simple and absolute material: the five letters K-A-S-E-R. Not as a displayed proper name, but as an architecture to explore, deconstruct, amplify. KASER describes the work's approach itself:
"A starting point: the letters KASER. They unfold in semi-wild and 3D style, in terms of dynamics, color choices, asymmetry, and effects. Additional elements such as splatters, graphic shapes, and textures appear. The variation of details reinforces the visual complexity."
Emotional dimensions
For KASER, the works are not neutral formal exercises. They function as records of inner states:
"The works reflect the artist's inner being and capture emotions such as aggression, calm, desire, and hope."
The title — "Clarity" — might seem paradoxical against a composition of such formal density. It should be understood as contextual to the geopolitical reality of 2025. "Clarity" is understood here rather as a mental state, one that follows a series of important concerns related, notably, to the decisions of US president Donald Trump, the clashes in Gaza and the war in Ukraine which plunged KASER into an emotional state of great anxiety about the future of nations.
In Clarity, this emotional dimension is perceptible in the coexistence of apparently contradictory tensions: the aggressive energy of the exploded forms and the serenity of the light gray background; the warmth of red accents and the coldness of dominant blues; the density of the central block and the peaceful void at the bottom of the canvas. The work does not choose between these states — it holds them together, like a simultaneous portrait of several layers of the same inner moment.
An institutional entry
"Clarity" is a work from a series of four canvases, composed of three identical 1 x 1 meter formats and one 2.40 x 1.20 meter format. Each expresses a dominant emotion experienced by the artist in this time of spring 2025.
"Anger", on bright red dominants, expresses the anger of the rising tension between certain nations, the collateral damage in terms of civilians affected by attacks, and the power of certain heads of state.
"Anger" by artist KASER was included in the collection of the Versoix city cultural fund in July 2025.
"Hope" is the expression of hope born from political decisions, beneficial coalitions, and strategic choices aimed at calming conflicts and finding favorable outcomes, rather than being trapped in war.
"Clarity" is the emotional experience of the artist of this confirmation of a favorable outcome to the tensions and armed confrontations experienced.
"Serenity", through its dimension and style, comes in relative break with the previous three canvases. It expresses a regained serenity and adopts a much more Graffiti style. The color palette used is unusual for the artist. This was his desire, in this geopolitical timeframe and also to deliver to the exhibition "Graffiti, letters and styles" organized by the Versoix cultural center "Le Boléro" and OUTSIDE ART, a somewhat atypical work in its chromatic palette.
Formal analysis
The canvas is organized according to a logic of vertical tension. The main mass of the letters occupies the upper and central third of the composition, forming an explosive block, both compact and centrifugal. The lower third, largely empty, plays the role of a space for breathing — and falling: splatters of geometric shapes (triangles, prisms) are scattered there like debris from an impact, accentuating the dynamic character of the whole.
The palette is built around a blue dominance — cobalt, sky blue, cerulean — which gives the whole a cold, metallic light, counterbalanced by accents of carmine red and gold on the gold leaf.
The background is worked in luminous white-gray, evoking a raw or atmospheric surface.
A diagonal blue frame at the four corners structures the composition without confining it, like a coordinate system that would delineate the playing space.
The 3D rendering is particularly refined: each shape has its own volume, its own zones of shadow and light, constructed both by spray and brush. It is precisely this combination of techniques — the aerographic diffusion of the spray and the precision of the brush — that produces the impression of a sculptural object floating in front of the background, almost independent of the canvas surface.
The splatters ("splatters" in the strict sense — broken, angular shapes) are fully integrated into the grammar of the work. They are not accidents or ornaments: they are the logical continuation of the letters' movement, as if the centrifugal force of the wild style had projected fragments into the surrounding space. They reinforce the sensation of speed and released energy.
The artist's ability to contain formal and emotional contradictions — graffiti and fine art, street and gallery, aggression and calm — may also be a fair definition of KASER's work
The artist's objective is explicitly twofold — or rather bipolar: to create a symbiosis between the codes of street graffiti and the practices of fine art. The work addresses two types of gaze simultaneously. The writer will read the quality of the work on the letter: the transitions between semi-wild and wild style, the rigor of the 3D rendering, the hierarchy of thicknesses. The collector or art enthusiast will find a sculptural, abstract, almost kinetic composition — an autonomous plastic object whose textual reference is no longer necessary for the experience.
Clarity is presented by OUTSIDE ART.