When describing the physical structure of his own work, Thitz simply says “Bags and acrylic on canvas”. But his work is more than this, illustrative, tangible and immediate, he presents a steaming with vitality world. Thitz hypothesis is if you really want to paint a large city, you must try to paint your perceived experience in itself, with all the bustling noises, the urban dust, the fleeting odours… In one second a city can communicate an infinite amount of information about itself, and it is within this moment where my inner perception of the true self of the city is made up.
Now Thitz is designing an urban utopia: the city of tomorrow. It is as alive as ever, but now the air seems cleaner, the noise level more moderate and the risk of garish colour-attacks by crazy bullies around the next corner has subsided. Instead hypertrophied representations of real existing urban chaos creates Thitz’s alternative works. Urban Utopias have become visions of serene life.
His numerous collectors and fans have always been grateful to the artist that he toned down the weightiness of his art, as the generations of art historians and serious performers complaining about it in the past. Instead he returned them the privilege of interpretation, and that now his works do not require any explanation.