An influential figure in street art and figurative painting, Dan Witz articulates the chaos of bustling groups and solitary figures obsessively engaged with and separated by artificial means of communication. Witz’s figures demonstrate a uniquely modern obsession with technology and its impact on our connection with other people. Witz’s sprawling mosh pit paintings are like aimless allegories swelling and wrestling in directionless and finite passion. Remeniscent of battle scene paintings, they describe that release of pent up anger but to no ends and with no winners or losers. He paints bustling commuters absent of individuality in there uniforms struggling to get to work, perhaps rushing between tube stations. His portraits figures completely unconcerned by their surroundings, isolated by their absorption with the texts they are writing on screens that illuminate their faces like candle light. His couples are not lovers but revellers, connected by an enthusiasm and desperate craving for something they like to consume or indulge in rather than a mutual sense of admiration or love. Every scenario demonstrates a desperate attempt to connect and only having modern means to do so. Every figure needs a gimmick, a fetish, an organised or electronic vehicle for communication. His provocative street art reveals hands reaching through mental grates and obscured faces peering through the slats in an effort to reach the outside world who’s passers by may not even notice these obscure works of art or the subjects tackled in each. Witz’s work is engaging and sites classical techniques and references and eloquently comments on todays state of isolated overpopulation.