Jinks Kunst - BBOY DKA - 3 Real US $1 Banknotes - New Artwork from 2026
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Original edition artwork from 2026, created in France on a triptych of real US $1 banknotes using pochoir and spray paint, 20 cm high by 15.5 cm wide, signed by hand, weight 300 g, in excellent condition, depicting religion, sold direct from the artist and supplied with a certificate of authenticity.
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Description from the seller
The work entitled “Bboy DKA” is a vibrant immersion into the heart of hip-hop culture, capturing the essence of movement and urban performance. Executed on a triptych of genuine one-dollar bills, this creation uses the monetary support as an improvised street stage, where the dynamism of dance breaks the institutional rigidity of American currency.
The visual strength of this piece rests on a highly refined execution, requiring the application of nine successive layers of stencils. This meticulous layering allows sculpting the Bboy’s body in full motion, offering a relief and depth that seem to detach the dancer from his paper support. Each layer of paint defines the shadows, reflections, and details of the clothing, creating a striking contrast between the fine texture of the bills and the density of spray paint.
The title “DKA” directly echoes collective energy and the roots of graffiti and dance. By placing this character spinning on banknotes, the artist reinterprets the value of the dollar: here, money is no longer an end in itself, but becomes the ground on which artistic freedom and physical virtuosity express themselves. The Bboy becomes a cultural resistance icon, transforming a consumer object into an artistic artifact charged with history.
The chromatic harmony of the work plays with the original green and gray tones of the dollars, to which the bold colors of the character are superimposed. This dialogue between the engraved background and modern paint underscores the duality of Jinks Kunst’s approach: a respect for the support coupled with a fierce will to divert it. “Bboy DKA” is a celebration of agility, both that of the dancer and that of the artist wielding the scalpel to give life to this iconic figure of the street.
Provided with its certificate of authenticity.
IMPORTANT: The works are shipped carefully, with insurance. Upon receipt of the package, please verify that everything is intact. If this is not the case, refuse the package. Otherwise I will not be able to activate the insurance. If this is not the case, there are risks that I cannot do anything in case of a dispute. It will be your responsibility.
Seller's Story
Born in 1976 in Vevey, Switzerland, Jinks Kunst is a Franco-Swiss street artist based in Nantes, where he lives and works. His universe takes root in adolescence deeply marked by hip-hop culture and the raw energy of skating. Through magazines, fanzines, and album sleeves, he discovers graffiti and illustration at a very young age. Initially drawn to graffiti lettering, he gradually broadens his practice, fed by experimentation and the field.
Over the years, his work has taken on multiple forms: collages of paintings done on paper, stickers, murals, and subversions of traffic signs. He uses a wide range of supports, from walls to urban signs, but also wood, skateboard decks, or vinyl records. From the early 2000s, his works have been regularly exhibited in France and abroad. They enter private collections and appear in many international books dedicated to street art, testifying to a journey already firmly rooted in the contemporary urban scene.
For Jinks Kunst, the street is not just a place of exhibition: it is a necessity. His work is written as a living trace there, and his stencils, posters, stickers, and paintings are today found in 44 countries, across Europe, Africa, Asia, and South America. These journeys are always accompanied by the same approach: walking long distances, observing, looking for the right walls, the right signs, the right spots. But they are above all opportunities for meaningful encounters with local populations and local artists. In this approach, urban art becomes a tool of social bonding and a means to act concretely. Jinks Kunst regularly engages in volunteer work, with audiences having little or no access to this form of cultural expression. In shantytowns, refugee camps, working-class neighborhoods, or schools, he organizes stencil-making workshops, sharing his know-how as a bridge between cultures and realities.
The year 2006 marks a decisive turning point: he discovers stencils, which immediately become a revelation and a lasting passion. His work is distinguished by entirely handmade fabrication. Armed with a utility knife, he cuts with extreme precision, for hours, photos or drawings of his characters. His inspiration is broad and free, drawing on current events, politics, literature, urban cultures, or the animal world. In January 2008, he initiated in Nantes a series of détournements of traffic signs, a practice that quickly became emblematic of his work and which he continued in many countries thereafter.
His career is punctuated by notable projects. In 2015, he painted several pieces in the Sidi Moumen slum in Casablanca, Morocco, in collaboration with the association Street Art Sans Frontière. The following year, he joined the Prasad project of the Art Lab association in Kathmandu, Nepal, which organizes street art workshops. To close the event in Beni, he created a monumental mural tribute to Mahabir Pun, a Nepalese teacher known for installing wifi in the Himalayas’ remote areas. This work takes the form of a 2.5 by 4.3 meter portrait.
In 2017, as part of the Cambodia Urban Art festival in Phnom Penh, Cambodia, he created a work in homage to the Xavier de Lauzanne film Les Pépites, shot in that same city. This project allowed him to meet the director, interested in his approach and world. In 2019, he organized the volunteer project “Alibi” in collaboration with several local organizations. With Solid’Art International, he worked in Iraqi Kurdistan and in various refugee camps: Chatila in Beirut, then Marj and Bar Elias in the Bekaa Valley in Lebanon. The project aimed to paint with the local population, but especially beside the refugees, giving rise to intense and deeply humane moments of collective creation.
Alongside his field actions, his work continues to establish itself in major art events. In 2021, he was among the 76 artists selected from 2,300 applicants to participate in the Paris Graffiti and Street Art Prize 2021. In 2022, he took part, with 25 artists, in the exhibition “Road Map” organized by Colors Festival in the Saint-Germain-des-Prés district. In 2023, he participated in the Secours populaire’s contemporary art fair “Solid’Art” at the Carreau du Temple, a solidarity event mobilizing artists to support the association’s actions. The same year, he donated 11 works to the CHU de Nantes endowment fund, intended for a charity auction aimed at financing projects related to health, sport, research, inclusion, and art.
The year 2024 marks an important milestone with a new solo exhibition at La Graffiti Compagnie du Pouliguen, confirming a lasting link with this expression venue. He also participated in several major group exhibitions, notably at Colors Festival in Tours and at the solidarity event C’est de la bombe at Empreinte Galerie d’Orléans. His work travels to the Baart Gallery in Bari, Italy, to Une Vision Singulière gallery in Hénon, to Shack in Paris, and to Shake Art Festival in Saint-Brieuc, a must-attend rendezvous on the urban scene.
In 2025, his artistic activity intensifies significantly. He presents three solo exhibitions, at Galerie Morphose and New Eye in Nantes, and at Undercover in Saint-Nazaire. In parallel, he participates in several engaged collective projects, including Art for Gaza at Sanctuary Gallery in the United Kingdom, Faites vos jeux in Orléans, and an exhibition at the Musée Collection Bien Jouet. He also renews his presence at Colors Festival in Tours, at Baart Gallery in Italy, and at La Graffiti Compagnie for the exhibition Y a pas de mâle!.
On the ground, that same year is punctuated by major international interventions. Jinks Kunst participates notably in the first Meeting of Styles in Yeumbeul, Senegal, the Zagreb Street Art Festival in Croatia, and the Paste Up Festival in Grenoble. Invited by the Institut Français to Vientiane, Laos, as part of the Cycle Patrimoine program, he continues his artistic exploration around the world. In France, he works on emblematic sites, such as Le Corbusier’s Maison Radieuse in Rezé for its seventieth anniversary, participates in the Collège fou fou fou project in Ille-et-Vilaine, and shines during the jam DKA / D77 in Paris.
Between social engagement, travel, urban interventions, and exhibitions, Jinks Kunst builds a unique, demanding, and deeply humane body of work. His approach, rooted in the street but open to the world, transforms walls and urban signs into spaces of narration, memory, and dialogue, inviting further exploration of his universe beyond each encountered work.
Translated by Google TranslateThe work entitled “Bboy DKA” is a vibrant immersion into the heart of hip-hop culture, capturing the essence of movement and urban performance. Executed on a triptych of genuine one-dollar bills, this creation uses the monetary support as an improvised street stage, where the dynamism of dance breaks the institutional rigidity of American currency.
The visual strength of this piece rests on a highly refined execution, requiring the application of nine successive layers of stencils. This meticulous layering allows sculpting the Bboy’s body in full motion, offering a relief and depth that seem to detach the dancer from his paper support. Each layer of paint defines the shadows, reflections, and details of the clothing, creating a striking contrast between the fine texture of the bills and the density of spray paint.
The title “DKA” directly echoes collective energy and the roots of graffiti and dance. By placing this character spinning on banknotes, the artist reinterprets the value of the dollar: here, money is no longer an end in itself, but becomes the ground on which artistic freedom and physical virtuosity express themselves. The Bboy becomes a cultural resistance icon, transforming a consumer object into an artistic artifact charged with history.
The chromatic harmony of the work plays with the original green and gray tones of the dollars, to which the bold colors of the character are superimposed. This dialogue between the engraved background and modern paint underscores the duality of Jinks Kunst’s approach: a respect for the support coupled with a fierce will to divert it. “Bboy DKA” is a celebration of agility, both that of the dancer and that of the artist wielding the scalpel to give life to this iconic figure of the street.
Provided with its certificate of authenticity.
IMPORTANT: The works are shipped carefully, with insurance. Upon receipt of the package, please verify that everything is intact. If this is not the case, refuse the package. Otherwise I will not be able to activate the insurance. If this is not the case, there are risks that I cannot do anything in case of a dispute. It will be your responsibility.
Seller's Story
Born in 1976 in Vevey, Switzerland, Jinks Kunst is a Franco-Swiss street artist based in Nantes, where he lives and works. His universe takes root in adolescence deeply marked by hip-hop culture and the raw energy of skating. Through magazines, fanzines, and album sleeves, he discovers graffiti and illustration at a very young age. Initially drawn to graffiti lettering, he gradually broadens his practice, fed by experimentation and the field.
Over the years, his work has taken on multiple forms: collages of paintings done on paper, stickers, murals, and subversions of traffic signs. He uses a wide range of supports, from walls to urban signs, but also wood, skateboard decks, or vinyl records. From the early 2000s, his works have been regularly exhibited in France and abroad. They enter private collections and appear in many international books dedicated to street art, testifying to a journey already firmly rooted in the contemporary urban scene.
For Jinks Kunst, the street is not just a place of exhibition: it is a necessity. His work is written as a living trace there, and his stencils, posters, stickers, and paintings are today found in 44 countries, across Europe, Africa, Asia, and South America. These journeys are always accompanied by the same approach: walking long distances, observing, looking for the right walls, the right signs, the right spots. But they are above all opportunities for meaningful encounters with local populations and local artists. In this approach, urban art becomes a tool of social bonding and a means to act concretely. Jinks Kunst regularly engages in volunteer work, with audiences having little or no access to this form of cultural expression. In shantytowns, refugee camps, working-class neighborhoods, or schools, he organizes stencil-making workshops, sharing his know-how as a bridge between cultures and realities.
The year 2006 marks a decisive turning point: he discovers stencils, which immediately become a revelation and a lasting passion. His work is distinguished by entirely handmade fabrication. Armed with a utility knife, he cuts with extreme precision, for hours, photos or drawings of his characters. His inspiration is broad and free, drawing on current events, politics, literature, urban cultures, or the animal world. In January 2008, he initiated in Nantes a series of détournements of traffic signs, a practice that quickly became emblematic of his work and which he continued in many countries thereafter.
His career is punctuated by notable projects. In 2015, he painted several pieces in the Sidi Moumen slum in Casablanca, Morocco, in collaboration with the association Street Art Sans Frontière. The following year, he joined the Prasad project of the Art Lab association in Kathmandu, Nepal, which organizes street art workshops. To close the event in Beni, he created a monumental mural tribute to Mahabir Pun, a Nepalese teacher known for installing wifi in the Himalayas’ remote areas. This work takes the form of a 2.5 by 4.3 meter portrait.
In 2017, as part of the Cambodia Urban Art festival in Phnom Penh, Cambodia, he created a work in homage to the Xavier de Lauzanne film Les Pépites, shot in that same city. This project allowed him to meet the director, interested in his approach and world. In 2019, he organized the volunteer project “Alibi” in collaboration with several local organizations. With Solid’Art International, he worked in Iraqi Kurdistan and in various refugee camps: Chatila in Beirut, then Marj and Bar Elias in the Bekaa Valley in Lebanon. The project aimed to paint with the local population, but especially beside the refugees, giving rise to intense and deeply humane moments of collective creation.
Alongside his field actions, his work continues to establish itself in major art events. In 2021, he was among the 76 artists selected from 2,300 applicants to participate in the Paris Graffiti and Street Art Prize 2021. In 2022, he took part, with 25 artists, in the exhibition “Road Map” organized by Colors Festival in the Saint-Germain-des-Prés district. In 2023, he participated in the Secours populaire’s contemporary art fair “Solid’Art” at the Carreau du Temple, a solidarity event mobilizing artists to support the association’s actions. The same year, he donated 11 works to the CHU de Nantes endowment fund, intended for a charity auction aimed at financing projects related to health, sport, research, inclusion, and art.
The year 2024 marks an important milestone with a new solo exhibition at La Graffiti Compagnie du Pouliguen, confirming a lasting link with this expression venue. He also participated in several major group exhibitions, notably at Colors Festival in Tours and at the solidarity event C’est de la bombe at Empreinte Galerie d’Orléans. His work travels to the Baart Gallery in Bari, Italy, to Une Vision Singulière gallery in Hénon, to Shack in Paris, and to Shake Art Festival in Saint-Brieuc, a must-attend rendezvous on the urban scene.
In 2025, his artistic activity intensifies significantly. He presents three solo exhibitions, at Galerie Morphose and New Eye in Nantes, and at Undercover in Saint-Nazaire. In parallel, he participates in several engaged collective projects, including Art for Gaza at Sanctuary Gallery in the United Kingdom, Faites vos jeux in Orléans, and an exhibition at the Musée Collection Bien Jouet. He also renews his presence at Colors Festival in Tours, at Baart Gallery in Italy, and at La Graffiti Compagnie for the exhibition Y a pas de mâle!.
On the ground, that same year is punctuated by major international interventions. Jinks Kunst participates notably in the first Meeting of Styles in Yeumbeul, Senegal, the Zagreb Street Art Festival in Croatia, and the Paste Up Festival in Grenoble. Invited by the Institut Français to Vientiane, Laos, as part of the Cycle Patrimoine program, he continues his artistic exploration around the world. In France, he works on emblematic sites, such as Le Corbusier’s Maison Radieuse in Rezé for its seventieth anniversary, participates in the Collège fou fou fou project in Ille-et-Vilaine, and shines during the jam DKA / D77 in Paris.
Between social engagement, travel, urban interventions, and exhibitions, Jinks Kunst builds a unique, demanding, and deeply humane body of work. His approach, rooted in the street but open to the world, transforms walls and urban signs into spaces of narration, memory, and dialogue, inviting further exploration of his universe beyond each encountered work.
Translated by Google TranslateDetails
Sold by
Direct from the artist
Edition
Original
Artist
Jinks Kunst
Title of artwork
BBOY DKA - 3 Real US $1 Banknotes - New Artwork from 2026
Technique
Pochoir, Spray paint
Signature
Hand signed
Country of origin
France
Year
2026
Condition
Excellent condition
Height
20 cm
Width
15.5 cm
Weight
300 g
Depiction/theme
Religion
Style
Street art
Period
2020+
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