The article explores rhizomatic poetic practices of Medellín-based graffiti artist Señor Ok. His work is the city revealed as a relational, multidimensional texture. It transforms striated urban space to smooth by bringing other meanings from the periphery to the surface and decentralizing the dominant image of the city. I look at his work as poetry as an entanglement of his relationship and his daily life in the city, in the country, in the broader world. I argue that as an assemblage that forms assemblages within the urban textures, his art becomes methodology for critical non-representational affective inquiry of urban spaces.
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