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There are different layers of meaning by which it is possible to interpret Tilt’s work. Without a shadow of a doubt the primordial nature of graffiti is essential to the French artist’s work. His artistic research has always focused on this theme: to leave a sign, one’s name, in a vast part of the world and on a wide variety of surfaces. The throw-up, often seen as a mere act of vandalism, through Tilt becomes provocatively decontextualized. Extracted and inserted in unexpected contexts, it acquires a new beauty that is unsettling and disorienting. Under this guise tags become legitimized, both conceptually and aesthetically, creating a short circuit in the negative prejudice against them. Inside the former barracks he has pushed the limits of his research; not just an act of mere decontextualization, he has reshaped the surfaces destined for these interventions. Thus, the large windows become the surfaces on which the artist works. The numerous colorful throw-ups evoke the large stained glass windows of Gothic churches and lead us into the sacred realm. The reflection of light on the floors and walls, as well as the focal wall with the negative silhouette of the windows draws us in for respect and contemplation. The large painted walls are contrasted with an exhibition of photos taken of the windows of Rome’s metro, as well as other international cities, and the artist’s signature. The viewer is forced to walk through the pavilion in order to investigate the entire space.