Voici une série de peintures que j’ai commencé il y a trois ans. J’essayais de coucher sur la toile un assemblage de couleurs et de formes que j’utilise dans mes graffitis. Évidemment, le résultat est complètement différent d’un mur, pour une bonne raison ; traduire l’énergie que nous avons avec notre corps devant un mur m’était impossible, le format d’une toile est trop petit et contraint pour cela.

J’ai finalement trouvé un moyen de garder cette touche graffiti, avec la technique du “stencil cap” qui consiste à creuser un trou dans le couvercle d’une bombe de peinture. Le résultat de cette technique spéciale permet de retrouver la ligne de crayon, fine et imprécise, un peu sale comme je l’aime.

La façon dont je compose mes peintures est souvent spontanée, je commence par esquisser sur papier ce que je vais essayer de traduire en une composition colorée. Souvent, et suivant le format, je reviens avec un contour sombre, hommage à la ligne claire que j’ai toujours appréciée dans la bande dessinée.

Parfois, ce n’est qu’une composition abstraite, et parfois j’essaie de raconter une histoire, de mettre des éléments qui font réfléchir mes propres obsessions. Sur l’état de l’humanité, et mon impuissance face à ce monde fou.

Here is a series of paintings I began three years ago. I attempted to lay on the canvas a mixture of colours and patterns that I use in my graffiti. Obviously, the result is totally different from a wall, for a good reason; translating the power we use with our body in front of a wall was impossible for me, the format of a canvases is too small and restricted for that.

I have finally found a way to keep that graffiti touch, with the “stencil cap” technique which consists of digging a little hole in the cap of a spray-paint can. The result of this special technique allows me to find the pencil line, fine and imprecise, a little dirty as I like it.

The way I compose my paintings is often spontaneous, I start by sketching on paper what I will try to translate into a coloured composition. Often, and depending on the format, I come back with a dark outline, a tribute to the clear line that I have always loved in comics.

Sometimes it’s simply an abstract composition, and other times I try to tell a story, to put in some elements that makes me reflect on my very own obsessions. About the state of mankind, and my powerlessness in the face of this mad world.

Blitzkrieg 1m/1m
Soulhunter 2018 – 160cm/190cm

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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.