In New Toys, Thomas Daskalakis transforms abandoned car parts into powerful, thought-provoking works of art, reimagining these discarded objects as symbols of urban decay, consumerism, and social unrest. Through this series, Daskalakis explores the intersection of industrial materials, street art, and the larger cultural forces shaping our cities, using the physical remnants of modern life to reflect on themes of loss, resistance, and transformation.
The project centers around a selection of found car parts—doors, hoods, and other discarded automotive elements-each of which serves as a canvas for Daskalakis’ vibrant and often chaotic visual language. Employing materials such as spray paint, markers, acrylics, and physical manipulation like scratching or distressing the surfaces, he breathes new life into these objects, turning them into statements on the state of our urban environments. The worn, weathered surfaces of the car parts, once part of functional machines, become rich with meaning as they take on a second life as works of art.
In his approach, Daskalakis blends the raw, spontaneous energy of street art with the structural, utilitarian nature of car parts. The resulting works are dense, layered compositions that evoke a sense of urban chaos—of streets marked by graffiti, consumerism, and the daily grind of city life. These pieces draw on symbols of resistance and defiance, offering commentary on the forces of mass production, environmental destruction, and the rapid pace of modern life. Through this transformation of the car parts, Daskalakis critiques the commodification of both objects and ideas, questioning what is discarded, what is valued, and what remains.
The works in the series evoke the tension between individual freedom and collective control, reflecting the pervasive gaze of both technology and society. Daskalakis uses the car parts not just as objects but as metaphors for escape and entrapment in an increasingly monitored world. Through this lens, the abandoned parts take on new symbolic weight, representing both the act of resistance and the inevitable passage of time.
The car, often associated with mobility and personal freedom, is here reimagined as an object of confinement and observation, blurring the line between the personal and the collective. The playful, almost toy-like quality of the painted surfaces contrasts with the darker, more sinister undertones of surveillance and urban decay, creating a dynamic tension that invites reflection on the way our cities and societies are shaped by forces beyond our control.
Ultimately, New Toys serves as a powerful commentary on the relationship between art, design, and urbanization. By repurposing the discarded remnants of a consumer-driven culture, Daskalakis challenges us to reconsider the value of both the objects we abandon and the systems that govern our lives. Through this project, he invites us to confront the tension between the chaos of the streets and the need for hope and renewal, offering a visual and conceptual snapshot of the forces at play in the urban landscape.
