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International Exhibition of Art, Marseille


Art évolution, Sanary


HTV, Palais des Sports, Toulon.

Chalet des îles Daumesnil, Paris.

Contemporary art meeting,  La Seyne.

Arts fragments, Sanary


'Little papers', Galerie Castillon, Toulon.

Toulon by Cécile Colombo and friends.

Contemporary art center, Briançon.


Contemporary art exhibition Collective '600 the artists', Antibes.

Contemporary art meeting, La Seyne sur



First exhibition, 'serial K', La Seyne sur mer.



'Fascinated by urban cities, I look for plastic media to transcribe phenomena generated by megacities, density of architectural structures and lighting effects.

I first adopted a deliberately conventional technique, certainly influenced by my studies: representations of the human body in large formats and oil. I recently made ​​a radical change in my work, more rooted in current events and changes of society.


Born in 1975 in St. Etienne, Kaza lives and works in Var, after a childhood spent on   Reunion Island. Back in France, Kaza registered at Beaux Arts in La Seyne-sur-mer and followed studies of Art History and Archeology at the University of Social Sciences in Aix-en-Provence and at the Sorbonne in Paris.

Then, head and eyes full of images and references, Kaza feels ready to take the brushes, with the idea to update the art of landscape, anchored in now. Landscape that would reflect the main changes of our time: profusion bright, sprawling suburban, urban dizziness. Kaza then radically changed and renounced the use of paint.

'To translate our environment, so use what we offer, flyers, magazines and glue as my unique tools. As for support, it is a canvas frame voluntarily 'classic'. Perhaps influenced by the artists of the 60's and 70's (narrative figuration, new realism, poster artists) I wanted to produce figurative but not naive images, colorful but not shocking, saturated but not abstract. My landscapes, by the variety of assembled papers, offer a double play. They are made to be seen from far way and to be read closer.'



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My sources of inspiration: the skyrocketing mega-cities which skyscrapers and other architectural structures defy gravity laws, the sprawling suburbs that spread beyond reasonable limits, "the ultra modern loneliness." These are my Serial K and Chronocités.'

I'm looking for the plastic means to transcribe this phenomenon. The accumulation  of magazines' fragments allows me to express abundance and variety. The practice of collage is not trivial: as Pierre Buraglio, I want to take the color where it is located. I recycle magazines, in spirit of the times, symbolic act in the consumer society. This technique and subjects represented are reminiscent of the Pop Art Richard Hamilton, or affichistes Villeglé, Rotella, and photographer Andrea Gursky.

Is accumulation is it a modern phenomenon? "The Miscellany of Mr. Schott" is a book which contains a series of unlimited lists, of everything, and some would say of anything. It is a concentrated knowledge where fancy arises from the accumulation of elements, real or imaginary. A "formal exercise which give rise to poetic by simple juxtaposition." I try to give rise to cities, by the simple arrangement of pieces of paper accumulated over my reading.

Some paintings show a gradient from left to right, which requires a certain frame, while other, more recent, less "Pop", move away from figuration to focus on the side out of scope of cities. Saturation of support and simplifying the composition trying to drown the observer. I confess a certain fascination for photographers Andreas Gursky and Michael Wolf, with his Architecture of Density.

The race to development, the desire to reach heights that go beyond the understanding, the fast of changes, offer to the city a reputation for being inhumane. However, this is the expression of our humanity, our excessive ambitions, our challenges, our successes but also our failures: everyone remembers the two towers of World Trade Center. Here, the material has a symbolic significance. The paper is an apparent fragility, but it turns out that our cities are too. Drawing, voluntarily lacks expressiveness, is present only to enhance some fragments.