De Vries’ method of integrating elements of public space, such as everyday-life objects, into his installations is a reoccuring reference to his life as a street artist. While de Vries’ motifs, such as the notion of a recognisable signature, allude to Graffiti art contextually. By producing artwork mechanically through the use of self-built painting machines, the “tag”, not only becomes an allegory but is a way of questioning authorship and the role of today’s fine artist. “There always is something in-between me and my work—It is either a tool or a machine”, de Vries states.
Additionally de Vries’ practice is firmly rooted in the subtractive color model and the CMYK color printing process. While paint is the subject, Rutger de Vries’ art practice is a process-oriented experiment and a visual form of self-expression. Capturing a moment in time and leaving behind the artists trace like a paint bomb.