Moneyless, whose real name is Teo Pirisi, can be understood by his chosen name. There might be some humour in there, nodding towards life as a struggling artist, but it isn't the humour that drives him forward, rather the purity and rawness that 'moneyless' connotes.

It's art as understanding, ascetic practice with the goal of intellectual and physical transcendence. Street art, particularly in its formative graffiti style, emphasised speed. It was about getting up and getting out. Leaving your mark, but not getting caught. Getting caught isn't the issue for Moneyless, for the finished product is only as important as the process itself.

Geometry is one way of understanding the intersection of nature and science. The work of a Creator and the chaotic elements that are beyond anyone's control. It's mathematics as art, numbers valued for their form alongside their function. Moneyless integrates geometric shapes into most of his pieces, hoping to extract the knowledge contained within. Through art, and his studious nature, a sense of order can be introduced to creation.

Geometry has many connections to the sacred elements of our earth. But art itself, for Moneyless, connects him to more than the intellect and the land, but his very own life. As a youth he was given permission to draw on his bedroom walls, a place that quickly became a sort of sanctuary for thought and development. At the age of three, when thoughts, ideas and concepts are in such a liquid state, his wall was a place for experimentation, a forum to try and understand the large and awe-inspiring world that was going on around him.

From then, the pen or the brush never got set down. Going on to study fine arts, deepening his connection with the process itself, as well as the history, went some way in unleashing the power of art for him. By bettering his understanding, he could entrench the way he used art as a tool for life. Just like a child, it was still a way to feel out the world, but now he was armed with the means for true exploration. The adventurer was given his compass.

Moneyless' education manifests particularly evidently in the palette of his work. Providing a background to his shape-based work are often collages of colour that seem to be particularly influenced by the Modernists like Piet Mondrian and latter, more abstracted forms and artists.

Modernism was defined by structure, before abstraction came and took it away. Although they're complimentary movements, they're in many ways ideological opposites and Moneyless embraces both sides of the spectrum, sometimes combining the two in one piece, or fully leaping into one style or the other for a full facade. It's dynamism that can be best understood as balance.

Static in nature, yet dynamic by taste, his art possesses a kinetic quality, a dimension that is barely visible, yet defies the philosophical foundation of geometry to the degree that it isn't just explaining and understanding, but expressing too.

Moneyless is a goal. A state of mind. He's also an artist. Combining several contradictory qualities in a way that compliment each other, his artworks are challenging, ever interesting and constantly evolving. His thought-process and development can be seen throughout his artistic career, yet no end goal seems certain. First and foremost, he's a scientist of the arts, a man who doesn't find results to fit a hypothesis, but forms one around the experiences and information he gathers.