« […] Music is everywhere in his work, whether it is apparent—as in the actual material (vinyl records, cassette tape, video tape)—or invisible (a specially chosen tune or film recorded onto a record or tape subsequently used as the physical material for the work). In the latter, the work is “charged” with this music, almost like a mystical totem. “Memorials to different songs that are important to me… that these good songs are not forgotten…” is how Hildebrandt puts it. […] » Young Kim.

The typographic composition in Infini (by Sandrine Nugue) is inspired by the term « memorial » which Gregor uses to define his works. The black card, set apart from the rest of the information, takes on the status of a stele, of a memorial stone. As well as the silver pantone, the Astralux one-side coated paper (which wraps this card/totem) creates a direct echo of Gregor Hildebrandt’s favorite material: the cassette tape.

« […] The work of hammer and chisel sculpting the surface, carving the hardness of marble, limestone and granite, is reflected in Infini’s aesthetic position, which pays tribute to the figure of the incised letter, with its unequal proportions and concave shapes, stripped of the serifs so emblematic of imperial Rome’s monumental inscriptions. […] » Sébastien Morlighem.