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VILLIERS SUR MARNE (94), France
If the CREY 132 mosaic had to be reconstructed on a canvas, it would necessarily be rich in colour. The powerful and expressive colours of the comics, the sharp ones that fill the voluminous letters of the frescoes, the ones used to put a tag in a flash.
In the background, the wall of a vacant lot, a train depot or a subway station. Fatally, smells of spray paint, inks, acres of inks and solvents.
And, if this canvas could have a soundtrack, then it would spit out deafening basses that would make it vibrate under the virulence of the kick of a 90's rap classic. A beacon of a time when aspired by hip hop, CREY was evolving in its epicentre in the Parisian suburbs. A golden age governed by the pursuit of permanent challenge, the desire to always do better and above all passion. For CREY, it will be that of graffiti. For ever.
These urban wastelands, these walls and train carriages in front of which he spent hours, his eyes sometimes a few inches away to perfect the detail, he knows the texture and the grain by heart. Their brightness under the sun's rays, their reflections in the light of the lamppost. He knows them so perfectly that he has made them the basis of all his works.
On the canvas, CREY reproduces the support, and the support becomes the subject. Pressures on the nozzle, skilful inclinations of the bomb, the weave turns into a gray and grainy facade. Matt and dented sheet metal. Lacquered or chipped wood panel.
This artist is exceptionally presenting his works on KAZoART as part of the Street Art Sale for Emmaus International.
January 29th to May 29th, 2020 exhibition at the BNP Paribas private banking center, Paris 8th.