Ghost Pitùr: Who is the “Phantom” who erases graffiti from walls at night

A paintbrush and a bit of paint: these are the super-weapons of a modern-day superhero whose sole mission is to restore visual harmony to cities. Ghost Pitùr, as he calls himself, is a professional house painter from Brescia in northern Italy. By day he paints homes; by night he takes to the streets of Italian cities with one goal: to cover up unsightly graffiti on walls.

Ghost Pitùr always covers his face with a hood in the videos he posts on social media and says he does not seek fame.

With his face hidden beneath a black hood, the “phantom” removes unaesthetic graffiti and so-called “tags,” leaving behind the same note after every clean-up mission: “This is an act of urban love.” The Italian anti-Banksy has amassed more than 300,000 followers on TikTok and Instagram, and the videos he uploads after each action have attracted millions of viewers.

The anonymous defender of urban aesthetics says he does not seek fame or recognition. It is enough for him to restore order and decency to the city. As he has explained, it is a matter of respect, and he sees his work as a sign of love for his city, hoping to set an example for others. In the Brescia dialect, “Pitùr” means painter, referring to his profession, while “Ghost” reflects his choice to remain anonymous.

Speaking to the Italian press, he revealed that he is around 35–40 years old and lives in Brescia’s historic center. On his way to work each morning, he observes how the city has been affected by what he calls “urban decay.” As he puts it, every corner has a damaged wall, and what drives him is his deep love for his hometown. He stresses, however, that he does not intervene in slogans connected to ideology. His aim is simply to restore the city’s dignity, as he cannot understand why anyone would consider it their right to deface it.

Art or vandalism?

His actions were even mentioned by Monocle magazine, which managed to obtain a few statements from him. The “ghost” emphasized that it is important for him to remain incognito, mainly because he believes good deeds should be performed under the veil of anonymity, without profit or reward. “Like Banksy, my message is important,” he commented, adding that most of the graffiti that has damaged or altered buildings has no artistic nature.

“The façades of houses are not canvases. They are not spaces designed to be written on. They were built and painted with care, work, effort, and sacrifice — and for that reason, they must be respected.”

For him, there is a huge difference between art and vandalism. He would like young people in his city to volunteer to help make Brescia beautiful again.

Censorship or decency?

Some of the graffiti removed by Pitùr could be considered “street art,” and some critics accuse him of failing to respect free artistic expression. He responds to the Italian press: “I’m a painter, not an art historian. However, I know how to distinguish ugliness from artistic expression, and I also recognize when a design enhances a bare and poorly made wall.” According to him, Italy faces a serious problem with uncontrolled tagging — essentially the “artist’s” signature — which, in the eyes of ordinary citizens, looks like nothing more than a scribble.

He describes his intervention as conservative, setting specific limits for himself — for example, in the case of buildings subject to historical or artistic restrictions, where he must first obtain approval from the relevant authorities. Despite this careful stance, some see an element of “censorship” in his work and argue that he restricts freedom of expression. He maintains, however, that everyone is free to say what they think — just not to write it on someone else’s wall.

Athens as an open-air art gallery

Several hundred kilometers from Brescia, dozens of impressive large-scale graffiti murals adorn blank building walls in Athens. Most murals are located in central neighborhoods such as Psyrri, Metaxourgeio, Omonia, Gazi, and Exarchia. They blend into the urban landscape, turning the city into an open-air art gallery.

In this case, the discussion is about aesthetics rather than damage — about expression rather than vandalism. It is no coincidence that these works enjoy wide acceptance, have gained international recognition, and even serve as tourist attractions. A large-scale mural requires thought, planning, and effort. It is not merely a meaningless signature, the kind that leads the Municipality of Athens to carry out anti-graffiti operations. On the contrary, a carefully crafted piece of graffiti can add a distinctive touch to an otherwise dull and gray city.