EVEN IF YOU don’t know his name, you’ll know his work. Such is the vibrant and recognisable
output of the Argentine-Spanish artist Felipe Pantone – a former graffiti kid who sharpened his
focus to deliver what is a unique play of colour and geometric abstraction; an oeuvre framed as
‘kinetic art’ and which toys with movement and concepts both digitised and analogue.
Which is why his innovative horological collaborations make sense: Pantone’s latest, a
continuation of what is a tight working relationship with historic Swiss marque Zenith, another
desirable standout.
Esquire recently sat down with Pantone to talk art, exclusives, manifestos and more.
ESQ: Given the way you came up, graffiti will always be a strong influence in your art –
but at what point, or what were the swirling factors, that made you consider moving into
‘art’ per se?
Felipe Pantone: Graffiti was my first language, the way I learned to express myself in public spaces, but I
think the shift towards “art” in a more formal sense came when I realised I could take the energy
of graffiti and apply it to different contexts. It wasn’t so much a conscious decision to move into
fine art, more about exploring new mediums and opportunities to evolve creatively. Graffiti will
always be part of my DNA but I wanted to experiment with how those principles could be
translated into something more dynamic and long-lasting.
You studied fine art at a tertiary level – what were the key learnings here?
Studying fine art gave me a deeper understanding of composition, theory, and the historical
context of visual culture. It also taught me to think critically about my work and how it interacts
with the viewer. Perhaps most importantly, it provided me with the technical skills to explore a
wider range of mediums, from painting to sculpture to digital design. It was a chance to learn the
rules before figuring out how to break them effectively.
Graffiti has enjoyed certain societal embrace and greater acceptance the past 25 years –
has it therefore lost some of its power to be provocative?
In some ways, yes. The more something is accepted by the mainstream, the less subversive
it becomes. But graffiti still has power in its rawest form — when it’s used to challenge authority,
occupy spaces that aren’t traditionally meant for art, or communicate directly with a community.
While it may have lost some of its edge in certain contexts, I believe the spirit of graffiti — its
energy, its immediacy — remains provocative, especially when placed in unexpected
environments.
You worked with the great Carlos Cruz-Diez – what were the key learnings for you at that
time and how does his oeuvre continue to inspire you?
It was transformative. He taught me how colour and perception can be manipulated to create
experiences that go beyond static imagery. His understanding of kinetic art, the way he made
colour seem to move and change depending on the viewer’s position, had a profound influence
on my own work. To this day, I carry forward the idea that art should be interactive, that it should
challenge perception and invite the viewer to engage actively with it.
‘Kinetic art’ is bandied about in regard to your work – what’s the appeal of exploring the
broad concept of motion?
Motion represents change, speed, and the dynamic nature of the world we live in. I’m
fascinated by how movement can exist within static forms, how light, colour, and shapes can
create the illusion of energy. It’s not just about literal motion, but about evoking a sense of time
and transformation within the artwork itself. In a way, kinetic art parallels the fast-paced digital
era we live in, where everything is constantly in flux.
Your work also speaks of someone highly engaged with modern technology – with
specific reference and attraction to the internet and social media. What’s the allure on a
personal and an artistic level?
The internet is this incredible space where everything collides — information, culture,
technology. On a personal level, I’m fascinated by how it has reshaped the way we communicate
and interact with the world. Artistically, the internet has expanded my reach and allowed me to
experiment with digital mediums, blurring the line between the virtual and the real. It’s a place of
constant evolution and provides an endless source of inspiration.
Can we confirm you penned your ‘Ultra-dynamic Manifesto’ from a Japanese prison? And
what was that experience like?
Yes, it’s true. I did edit a little from home in Spain before publishing it. Writing the manifesto
was a strange but clarifying experience. It gave me time to distill my thoughts about art and the
digital world into something coherent yet hilarious in my opinion. The isolation allowed for
introspection and it was in that quiet space that the ideas behind Ultra-dynamism — about speed,
about transformation, and about the role of technology in art — began to take form. It was an
intense experience but ultimately gave birth to a new way of thinking about my work.
How do you describe the ‘new art movement’ you outline in the document?
The Ultra-dynamic Manifesto outlines an art movement that is about embracing constant
change and flux. It rejects static forms and celebrates speed, movement, and the blending of the
physical and digital realms. It’s about acknowledging the impact of technology on the way we
experience art and the world, and creating works that reflect the fast-paced, ever-evolving nature
of modern life.
We know you’re offered many different collaborations — indeed, you collaborate across a
wealth of products and brands — but why work with Zenith? And what does a collaboration
like this enable you as an artist?
Zenith understands the intersection of craft and innovation and that’s why we work so well
together. They have a respect for tradition but are always looking for ways to innovate, which
mirrors my approach to art. Collaborating with Zenith allows me to explore new ways of applying
my ideas to highly technical, beautifully crafted objects. It’s a dialogue between art and
engineering, and it pushes me to think about my work in ways I hadn’t before.
Watchmaking is an analogue technology — we presume that’s appealing given that your
work also pulls from the past?
Absolutely. There’s something timeless about mechanical watches, and that resonates with
me. My work may embrace digital aesthetics, but I’m always thinking about how the past informs
the present. Watchmaking is a perfect example of how something analogue can continue to be
relevant in a digital world and that balance is very much present in my own practice.
Talk to us about the specific elements you’re most proud of with the new DEFY Skyline
Tourbillon Felipe Pantone — what do you want the wearer to feel as they look and begin to
live with the piece?
I’m particularly proud of how the lightning bolt-shaped tourbillon bridge and the iridescent dial
came together to create a sense of movement and energy. These elements reflect the central
themes of my work — speed, colour, and transformation. When the wearer looks at the watch, I
want them to feel like they’re engaging with something dynamic, that the watch itself is in
constant dialogue with light and time. It’s a piece that evolves with you as you wear it.
In what ways has your horological knowledge grown given the four-year relationship with
Zenith?
My understanding of watchmaking has grown exponentially. I’ve come to appreciate the
incredible attention to detail, the precision, and the sheer craftsmanship that goes into each
piece. Learning about the mechanics, from movements to materials, has influenced the way I
approach design in other areas. It’s made me even more conscious of the small details and how
they contribute to the whole.
Why do you maintain anonymity in not showing your face? What does this enable and will
you put down the ‘mask’ one day?
Anonymity allows my work to speak for itself. It’s never been about me as a person — it’s
always been about the art. By not showing my face, I can maintain a focus on the work and keep
my personal life separate. Will I ever put down the mask? Perhaps, but for now, it enables a
certain freedom, and I like that the art remains at the forefront.
You’ve previously exhibited in Australia — your thoughts on the contemporary art and graff
scenes here? And will we see you back anytime soon?
Australia was fun. I’ve always been impressed by the graffiti and art community coming out
of the country. I would love to return at some point; I feel like there was so much still to be learnt
from that part of the world.
The limited edition Zenith DEFY Skyline Tourbillon Felipe Pantone is now available, $96,200; zenith-watches.com
Related:
Up close and personal with Zenith’s standout watches
