Ultradynamism responds to:

• The aggressive change, the somersault and the spacial jump, the dissolve of the tradition, admitting the interested appropriation.
• The seek of accuracy through estimation.
• The use of computers as an efficient element of the arts in order to introduce complex and accurate dimensions.
• The will of bringing spaces closer: Internet's fractal aspects with its infinite relations and developments. The use of it as a space for exhibition, divulgation, and creation.
• The contribution of new systems in the knowledge of perceptual phenomena.
• The stimulus of interpretations, creating in the spectator a state of active participation.
• The production of improbable shapes, avoiding any predictable order.
• The incorporation in the pictorial space of uncertainty and surprise, instability and displacement. Improvisation, immediate solution, and wrongful appropriation in the public space.
• The inducement of the sensorial capacity through the projection of states, at times precise, ordered, and geometrical, other times chaotic, unstable, and liquid. To impress in art a rationalist and ordered vision that incorporates chance and the motion of the madding ultradynamic chaos.
• Sharp shapes, structures that offer an aggressive-active expression. Leaning directions that give figures a dynamic stability.
• The creation of rational work, bridge between art and science, in which the non-rational self is less interesting than the intention to arrange the impetus of the world through geometry, utilizing the creative exercise as a source of knowledge.
• Graffiti as the ultimate ism, consistent with the liquid modernity, with its transitory relations and its disposable and ephemeral condition.
• The intention to capture the velocity and the enormous ultradynamic information.
• The constant allusion to future and cosmos, through shape and concept, as an element of thrust towards the aforesaid. The reference to omnipresence and the aspiration to it through graffiti.
• The exaltation of the eternal omnipresent velocity, driving force of the absolute.

Valencia, November 2nd, 2013

«Well, I was in jail [for 11 days for a graffiti offence in Japan] and had nothing better to do. It’s based on the futuristic manifesto.»

— the version he told for years. The legend, documented as legend: see “The legend and the truth” in the Seam.

Signed in València on November 2, 2013, and published on pant1.tumblr.com on the 28th — a year before the cell. The cell didn't write it: it turned it into a program. In PRAESENTIA it is reproduced as a tear-out facsimile: the Spanish version on aged paper, with the UB stamp and two signatures — his own and a second one, according to the facsimile. He himself plays it down: a materialization of his comfort zone, written so as not to stay inside it. And still, in 2026: «Hace años empecé a llamar a mi trabajo ‘ultradinámico’.»

Sources: signed ES original (studio photo, 2026-07-13) · EN facsimile in PRAESENTIA pp. 14-15 · pant1.tumblr.com · Cult MTL 2016 · ¡HOLA! 2026.

↑ ARRIBA — en qué se convirtió

• Los sistemas · 2020—22
• CONTACTLESS: la cláusula de internet
• Veta: las máquinas
• la velocidad como estética
• W3-Dimensional
• el rayo del ultradinamismo