MOMIES (born in 1976) - Modules 20.01, 2020 - Acrylic on canvas signed and dated on the back - 146 x 97 cm - 57 1/2 × 38 1/5 in

MOMIES (born in 1976) - Modules 20.02, 2020 - Acrylic on canvas signed and dated on the back - 146 x 97 cm - 57 1/2 × 38 1/5 in

MOMIES (born in 1976) - Modules 20.03, 2020 - Acrylic on canvas signed and dated on the back - 60 x 81 cm - 23 3/5 × 31 9/10 in

MOMIES (born in 1976) - Modules 20.04, 2020 - Acrylic on canvas signed and dated on the back - 60 x 81 cm - 23 3/5 × 31 9/10 in

MOMIES (born in 1976) - Modules 20.05, 2020 - Acrylic on canvas signed and dated on the back - 100 x 100 cm - 39 2/5 × 39 2/5 in

MOMIES (born in 1976) - Modules 20.06, 2020 - Acrylic on canvas signed and dated on the back - 146 x 97 cm - 57 1/2 × 38 1/5 in

MOMIES (born in 1976) - Modules 20.07, 2020 - Acrylic on canvas signed and dated on the back - 100 x 100 cm - 39 2/5 × 39 2/5 in

MOMIES (born in 1976) - Modules 20.08, 2020 - Acrylic on canvas signed and dated on the back - 100 x 100 cm - 39 2/5 × 39 2/5 in

MOMIES (born in 1976) - Modules 20.09, 2020 - Acrylic on canvas signed and dated on the back - 100 x 100 cm - 39 2/5 × 39 2/5 in

MOMIES (born in 1976) - Modules 20.10, 2020 - Acrylic on canvas signed and dated on the back - 130 x 89 cm - 51 1/5 × 35 in

MOMIES (born in 1976) - Modules 20.11, 2020 - Acrylic on canvas signed and dated on the back - 130 x 89 cm - 51 1/5 × 35 in

MOMIES (born in 1976) - Modules 20.12, 2020 - Acrylic on canvas signed and dated on the back - 130 x 195 cm - 51 1/5 × 76 4/5 in

MOMIES (born in 1976) - Modules 19.4, 2019 - Acrylic on canvas signed and dated on the back - 146 x 114 cm - 57 1/2 × 44 9/10 in

MOMIES (born in 1976) - Modules 19.18, 2019 - Acrylic on canvas signed and dated on the back - 200 x 140 cm - 78 7/10 × 55 1/10 in


Momies comes from the traditional graffiti scene. Passionate about lettering, he remains faithful to this original passion, while his style evolves towards abstraction and sophistication.

The letters have been stretched and refined to the point of becoming elusive, airy lines. The name and letters so dear to graffiti traditions have disappeared in favor of style and movement. The graffiti itself is reduced to the essentials: spontaneity, speed of execution, visual impact.

Momies calls the structure of the letter at the heart of its work “modules”. It is the breadcrumb of his work that makes his style instantly identifiable. Free, impulsive, industrial and round lines are accumulated and arranged in an elaborate manner on the canvas. These lines allowed him to stick to the fundamental principles of graffiti, while offering a contemporary variant of abstract art. The automatism of execution combined with the mastery of colors creates an illusion of movement and a sense of rhythm. Consequently, a vibrant atmosphere, both meditative and dynamic, flourishes in the compositions of Momies.

In this exhibition, Momies plays with our senses in the way he juxtaposes subjects and backgrounds.

In Modules 19.4, we see a composition and a technicality typical of the work of Momies, showing his dynamic modules in a limited palette of colors, produced by different media, such as spray paint or brush and sponge with acrylic. All of these overlap and create multiple layers of depth and transparency.

In Modules 19.18, what would have been considered a subject in another work is found nested throughout the composition. The foreground and the background merge into a single plane; the layers and transparencies are worked more finely, so that the movement is created by the subtle range of colors used by the artist.

For “Obsession”, Momies keeps his writing and his visual signature by venturing into a more pop chromatic range and more rounded Modules. Modules 20.03 reminds us of the colors of a Warhol screenprint, its lines and curves overlap and intersect like interlacing. This very textured and compact accumulation barely lets the background appear to create an explosive energy contained on the canvas.

Using the same technique, Modules 20.01, presents a more reduced range of colors. Here the lines are more aerial, Momies couples them with flat white curves and gray shadows that cause the spectator a feeling of depth in this chaos of controlled power.

The construction of the works on paper is inspired by the same artistic approach with a more intimate side. The dimensions of the paintings allow the viewer to enter the work more physically, while the works on paper are to be appreciated in more details and closer look.

Momies takes us into his universe of lines and curves, depth and solids, to the rhythm of the spectator. The movement of his works will guide us through an abstract journey that it is up to us to define.