Born and raised in Berlin, Moe has been moving between graffiti, street, and mural art since the 1990s – always with an eye for the unseen. His work emerges where city, art, and subculture intersect: on facades, doors, in hidden spaces, and forgotten corners.

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The approach is direct and unfiltered. It’s not about perfection, but about authenticity – about traces of time, layered surfaces, and the stories that have inscribed themselves into walls and structures. The visual language thrives on breaks, contrasts, and the overlooked details of urban life.

This attitude finds its purest form in the stencil: fast, precise, repeatable – yet open to experimentation. The stencil motif serves as both key and tool. It condenses ideas, conveys messages instantly, and still leaves room for the peculiarities of the surface beneath.

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Alongside critical artworks, Moe’s repertoire includes portraits and figurative pieces – works that oscillate between intimacy and rawness, constantly revealing new facets of urban reality. Instead of pleasing the eye, they assert individuality: an aesthetic that can be clear, rough, or enigmatic. The city becomes stage, testing ground, and echo chamber all at once – art that raises questions, makes critique visible, and embraces contradictions.

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Out of this understanding grew an engagement beyond his own artistic practice. With projects like the Urban Art Hall, spaces were created where other artists could work freely. It was never about self-promotion, but about the conviction that Urban Art is more than decoration – it is expression, protest, identity, and a movement of the city that deserves lasting places.

 

From his experiences at mural spots arose the idea of high-quality Blackbooks – publications that don’t just document but capture the energy and spirit of the scene. Whether printed, exhibited, or digital, Moe’s aim remains the same: to seize the fleeting moment before it disappears again into the flow of the city.