Here is a serie of painting i start three years ago. I was trying to put on canvas a composition of colors and shapes i’m using in my graffiti on walls. Obviously, the result is completly différent than a wall, for a good raison. Translate the energie we have with our body in front of a wall was impossible for me, a canvas is too small for that.

I finaly find a way to keep a graffiti touch, with a technique we build by digging a hole in the cap of a paint spray can. This special Technique called stencil cap allows you to find the pencil line, thin and imprecise, a litle dirty as i like it.

The way i build my painting is often spontaneous, I start by drawing on a piece of paper that I will try to translate into a colorful composition. Often I come back with a dark outline, tribute to the clear line that I have always appreciated in the comic book.

Sometime it’s just an abstract composition, and sometime i try to tell a story, put some element that make you thinking about the obsession i have. About the state of humanity, and my powerless in front this crazy world

Published by


BREZ Mathias, born in 1972, live in Rennes. Son of farmers, an happy childhood in the countryside with his siblings in 1980, his family emigrated to Rennes, a small town in province. Plunged booming 80s, he discovers the Comics, Gotlib, fluide glacial, Letendre, Loisel, Japanese animated series and Graffiti trought Flashdance. In the late '80s, he made ​​use of local precursors and becomes a hiphop activist. With members of Graffiteam, he organized many meetings, exhibitions, events goshawks that culture. In 2013, with Patrice POCH, he created the International Urban Art "TEENAGE KICKS" that will bring in Rennes nearly 70 international artists. His artistic process explores several approaches, most often contextual, visual interventions, installations, collages, new muralism, featuring illustrations and characters closely with selected media, the location, the real or imagined history. Moreover, under the set of letters BREZ72 a calligraphic work away from the very coded language of traditional graffiti, playing the adversarial balance between freedom of abstraction and constraint typographical reading.