B.toy

Behind the growing success of street art are often mechanisms that transform the artists into an instrument in the hands of galleries, institutions and media. In a market that is interested both in the economy of attention and in the sale of artworks, the street artist is a perfect low-cost toy. He distracts, entertains, sets trends, attracts likes and followers and has no big economic pretensions. You do not even need to contact him far in advance. The artistic offer in this environment is so wide today that you have a very good margin of choice even a few days before the event.

B.Toy denounces the economic mechanisms that is behind this era marked by precarious work with the usual irony to which Biancoshock has accustomed us: reproducing the starter kit of a typical street artist armed with roller, can, bucket and rod. Behind the smile of this toy imprisoned in the box, however, lies the dissatisfaction of the artist who is denied the opportunity to experiment and to be a carrier of difficult messages. B.toy is a self-portrait of an artist who looks in the mirror to remain true to himself, despite the forced homologation that success is imprinting on the street art, reproducing mechanisms similar to those operating in the rap scene.