Colour across architecture with the brutality of a gesture that refuses hierarchy. Her sprayed interventions collapse graffiti impulse, into a single, insurgent wave. The work reads as neo-punk in its disregard for boundaries, yet also neo-expressionist in its ecstatic surrender to scale, chance and atmospheric dispersion. What appears playful is strategically precise: a humour that destabilises institutional gravitas while legitimising the act of painting everything—walls, floors, airspaces—as if the world were a mutable surface. In this expanded field, colour becomes both weapon and atmosphere, a force that overwrites order and renders space unstable, provisional, thrillingly alive. If Dada emerges here, it is not as quotation but as infrastructure: a logic of rupture, sabotage and absurd freedom reactivated for a hyper-visual age. Grosse turns immediacy into theory, exuberance into critique, and the city into a vast, vibrating canvas.
