“Dans et sur les murs” Graphic Poster for Street Art event in Saint-Germain-en-Laye

In 2023, I had the honor to work again for Saint-Germain-en-Laye Cityhall as i did in 2018, creating the new graphic poster for their street art event. This time, I decided to use a powerful photograph by Fabe Collage featuring a woman holding a smoke flare. The image highlights urgency of rebellion, echoing the spirit of urban art movements.

Alongside the poster design, I also created a series of panels using more of Fabe Collage‘s photographs and also photograph’s found from the city of Saint-Germain-en-Laye. These panels were displayed in the urban space, extending the visual identity of the event and integrating it into the urban landscape.

This project is rooted in the intersection between graphic design, photography and urban intervention. The objective was not only to create a promotional poster, but also to extend the visual identity of the event into the public space itself. The design becomes a bridge between communication and urban experience.

The choice of the photograph by Fabe Collage is central to the visual impact of the project. The image of a woman holding a smoke flare introduces a strong emotional and symbolic dimension. It evokes urgency, resistance and collective energy, elements often associated with street art culture and urban expression.

Rather than using a purely illustrative approach, the design is built from documentary and photographic material. This decision reinforces the connection between reality and artistic interpretation. The visual language is grounded in real urban scenes and real individuals, which strengthens the authenticity of the message.

The “Dans et sur les murs” event in Saint-Germain-en-Laye provided a context where graphic design could interact directly with urban space. The project extended beyond the poster itself, incorporating additional panels displayed in the city. These panels used a combination of photographs from Fabe Collage and archival images sourced from Saint-Germain-en-Laye, creating a layered visual narrative.

This expansion into public space transforms the design into an environmental installation. Instead of being confined to a single surface, the artwork becomes part of the city’s visual ecosystem. It interacts with architecture, circulation and everyday urban life.

The integration of multiple photographic sources creates a dialogue between different perspectives of the city. On one hand, there is the artistic vision of Fabe Collage, focused on expressive human presence. On the other, there are documentary images of Saint-Germain-en-Laye, which anchor the project in its geographical reality.

This combination reinforces the idea that urban space is not static but constantly evolving. Street art and graphic design contribute to this evolution by introducing temporary visual interventions that reshape perception of familiar environments.

The project also reflects a broader interest in how visual identity can be extended beyond traditional formats. A poster is usually a fixed communication tool, but in this case, it becomes the starting point for a larger system of visual expression distributed across public space.

Through this approach, the boundary between design and installation becomes blurred. The viewer is not only exposed to a message but also immersed in a coherent visual environment that extends throughout the city.

Ultimately, this project for Saint-Germain-en-Laye demonstrates how graphic design can operate at the intersection of communication, photography and urban art. It shows how a visual identity can be expanded into space and time, creating a dynamic relationship between artwork, audience and environment.

Graphic Design for “Déraille” Street Art Event in Nîmes

I had the opportunity to work again with Osaro agency to do graphic design and visual identity for the “Déraille” street art event in Nîmes. The event took place at Durand Récupération, an open-air train scrapyard where artists were invited to paint on the remnants of old trains.

For the event’s communication, I used a striking photograph by Fabe Collage, featuring the skeletal frame of a locomotive, which perfectly captured the spirit of the event, raw, industrial, and artistic. This unique setting provided a dynamic backdrop for street artists to express themselves, blending urban art with the gritty beauty of the scrapyard. The event was a celebration of art, transformation, and creativity in an unconventional space.

This project is based on a strong industrial and documentary visual language. The choice of the train scrapyard as both location and conceptual framework establishes a direct connection between urban art and industrial heritage. The environment itself becomes part of the narrative, where abandoned structures are transformed into artistic surfaces.

The visual identity of “Déraille” is rooted in the idea of transformation. The remnants of trains, stripped of their original function, are reactivated through artistic intervention. This process reflects a broader theme present in many contemporary urban art projects, where decay and creation coexist within the same space.

The photograph by Fabe Collage plays a central role in the communication design. The skeletal locomotive frame acts as a powerful symbol of industrial memory and structural fragility. It conveys both the history of movement and the stillness of abandoned machinery, reinforcing the visual tension of the project.

Working again with Osaro agency allowed for a coherent development of the event’s identity. The collaboration focused on translating a physical space into a visual communication system capable of representing both the artistic energy of the event and the specificity of its location.

The “Déraille” event in Nîmes is also significant because of its unconventional setting. Durand Récupération is not a traditional exhibition space but an open-air industrial site. This context creates a direct dialogue between contemporary street art and industrial archaeology.

Artists participating in the event were invited to intervene directly on the surfaces of old trains. This interaction between artwork and industrial object creates a layered visual experience where each piece of graffiti or painting becomes part of a larger collective composition.

The role of graphic design in this context is not limited to promotion. It becomes a bridge between the physical event and its public perception. The visual identity must therefore reflect both the rawness of the site and the diversity of artistic expressions it hosts.

The combination of industrial imagery and contemporary street art references reinforces the identity of the project. It highlights the transformation of functional objects into aesthetic surfaces, and the reactivation of abandoned spaces through artistic practice.

The “Déraille” project ultimately reflects a broader interest in the relationship between art, industry and transformation. It demonstrates how abandoned infrastructures can be reinterpreted as creative platforms, where history and contemporary expression intersect.

Through this visual identity, the event becomes more than a gathering of artists. It becomes a structured visual narrative where industrial heritage, photographic documentation and graphic design converge into a unified artistic statement.

Graffiti to be Solidaire with Secours Populaire

I was thrilled to create the graphic design for a street art event organized by UnePhase2Styles in collaboration with Secours Populaire. The event’s visual identity was designed to capture the dynamic energy of street art and its power to bring people together for a charitable cause. It was an honor to contribute to a project that promotes art as a tool for social good. Few years later i had chance to do large-scale mural for the Secours Populaire of Moselle.

This graphic design project was created to support a street art event that combined artistic expression with social engagement. Developed for UnePhase2Styles and Secours Populaire, the visual identity was conceived as a communication tool capable of reflecting both the energy of urban art and the values of solidarity promoted by the event.

Street art has long been associated with public expression, accessibility and community engagement. In this context, the visual communication surrounding the event needed to convey not only an artistic atmosphere but also the collective dimension of the initiative. The design therefore aimed to create an immediate connection between creativity and social commitment.

The collaboration between UnePhase2Styles and Secours Populaire brought together two complementary worlds. On one side, a structure dedicated to promoting urban culture and artistic projects. On the other, an organization recognized for its social and humanitarian actions. The graphic design became a meeting point between these two missions.

Creating a visual identity for a street art event requires balancing readability and artistic character. The design had to function as a promotional tool while remaining connected to the visual codes associated with graffiti, murals and contemporary urban culture.

The project also highlights the role graphic design can play beyond commercial communication. In this case, design supports a charitable initiative and helps increase visibility for a cause that depends on public awareness and participation. Visual communication becomes a tool for mobilization and engagement.

The event took place in Metz, a city that has hosted numerous urban art initiatives over the years. Through collaborations between artists, associations and local organizations, these projects contribute to making art accessible to wider audiences while creating opportunities for social interaction.

This project also marks an important connection within my own artistic journey. Several years after creating the visual identity for this event, I had the opportunity to collaborate again with Secours Populaire Moselle on a large-scale mural for the Secours Populaire. This continuity illustrates how relationships built through graphic design and cultural events can develop into larger artistic collaborations over time.

The visual identity created for the event reflects a belief that art can contribute positively to society. Whether through murals, workshops, exhibitions or graphic communication, artistic practices have the capacity to create dialogue and strengthen connections between people.

Ultimately, this project demonstrates how graphic design can support cultural initiatives while helping communicate values such as solidarity, cooperation and community engagement. It stands as an example of how visual creation can participate in projects whose impact extends beyond aesthetics and into the social sphere.

 Graphic design by Alex Kanos / Organised by UnePhase2styles / Thanks to Secours Populaire Moselle / Location Metz France

My Artistic Intervention at Winamax:

When Street Art Meets the World of Online Gaming

Recently, I had the opportunity to collaborate with “Winamax”, a well-known company in the online gaming industry. This unique artistic intervention allowed me to dive deep into their visual identity and create pieces that reflect the essence of their world. In Winamax’s offices, I crafted several “mural compositions” inspired by the core themes of online gaming.

Drawing on the company’s signature colors, “black” and “red”, I designed dynamic artworks that capture the excitement and energy of the gaming universe. Each piece I created echoes the values and spirit of gaming: “competition”, “strategy”, and “chance” are central concepts I incorporated into my work.

The shapes and visual elements evoke both the playful and technological aspects of Winamax, while remaining true to my artistic style, which often blends organic and mechanical elements. Why is this collaboration special? Winamax is a key player in the online gaming world, and having the chance to bring my artistic vision to their offices was an enriching experience.

My goal was not only to decorate the space, but also to “create an inspiring environment” for their team, immersing them in a visual universe that reinforces the brand’s identity. This artistic collaboration was a fantastic opportunity to explore new themes and adapt my style to a world rich in symbols and stories.

I hope Winamax’s employees and visitors will enjoy and connect with these artworks, which are a visual celebration of the gaming universe.

This project demonstrates how contemporary art can become an integral part of a company’s visual culture. Rather than treating office decoration as a secondary element, the intervention was designed to contribute to the atmosphere of the workspace and strengthen the identity of the environment.

Creating artwork for a corporate setting requires a different approach from public murals or festival projects. The objective is not only to produce visually impactful pieces but also to create a coherent dialogue with the company’s culture, values and daily activities.

For this collaboration, the visual language was inspired by the world of online gaming. Competition, strategy, probability and decision-making are concepts deeply connected to the gaming universe and became important sources of inspiration throughout the creative process.

The black and red color palette played a central role in the compositions. These colors are immediately associated with the Winamax visual identity and helped establish continuity between the artworks and the surrounding architectural environment. By integrating these graphic codes, the intervention becomes part of the workplace rather than an external decorative element.

Technology is another important aspect of the project. The online gaming industry is closely connected to digital culture, interfaces and innovation. Through graphic structures, layered compositions and mechanical influences, the artworks reflect this technological dimension while remaining rooted in a handmade artistic process.

Although the project was developed for a corporate environment, it remains connected to the themes that characterize much of my artistic work. The coexistence of organic and mechanical forms, the relationship between humanity and technology, and the construction of visual narratives are all present within the compositions.

Workspaces have evolved considerably in recent years. Many companies now seek environments that encourage creativity, collaboration and engagement. Art can contribute to this objective by transforming ordinary offices into places that stimulate imagination and create a stronger sense of identity.

This intervention also illustrates how street art aesthetics can be adapted beyond traditional urban contexts. Elements commonly found in murals and public artworks can be reinterpreted to fit professional environments while maintaining their visual energy and expressive qualities.

The project created an opportunity to explore a new thematic universe while remaining faithful to my artistic language. Gaming culture offers a rich visual vocabulary composed of symbols, challenges, competition and interaction, all of which can be translated into contemporary graphic compositions.

Ultimately, this collaboration with Winamax demonstrates how custom artwork can enrich a workspace while supporting a company’s identity. By combining graphic design influences, street art aesthetics and references to gaming culture, the project transforms office walls into visual storytelling devices that reflect the energy and character of the brand.

ICADE Street Art Project Dreaming New Horizons

I had the pleasure of creating the graphic design for ICADE’s street art event, “Dreaming of New Horizons.” The centerpiece of my design is a spray cap, symbolizing the essential tool that street artists used throughout the event. The image captures the essence of street art and its connection to creativity and urban culture.

For this project, I was responsible for both the print and web communication, ensuring the event’s visual identity was cohesive and impactful. In addition, I designed a 32-page retrospective book, documenting the event and highlighting the amazing work done by the participating artists. This collaboration with ICADE was an incredible opportunity to blend design, street art, and urban culture, and I’m proud to have been part of it.

This project was developed as part of a street art initiative that brought together artists, urban culture and public engagement. The challenge was to create a visual identity capable of communicating the spirit of the event while remaining adaptable across multiple communication formats.

The central visual element of the project is the spray cap. More than a simple technical object, the spray cap has become an iconic symbol within graffiti and street art culture. It represents creation, experimentation and the direct relationship between artists and public space. By placing it at the center of the visual identity, the design immediately establishes a connection with the event’s artistic foundations.

A successful event identity must function consistently across different media. For Dreaming New Horizons, the graphic system was designed to work both in print and digital communication. Posters, promotional materials, online visuals and editorial documents all shared the same visual language, ensuring strong recognition throughout the event.

The project extended beyond event promotion. One of the key aspects of the collaboration was the creation of a 32-page retrospective publication documenting the event and the participating artists. This editorial work transformed a temporary cultural event into a lasting visual archive.

Designing a retrospective book requires a different approach from creating promotional materials. The objective is not only to attract attention but also to organize information, present artworks clearly and create a coherent narrative throughout the publication. Layout, typography, image hierarchy and pacing all play a crucial role in the reading experience.

Street art events often exist at the intersection of multiple disciplines. They involve artists, organizers, local communities, sponsors and cultural institutions. The visual identity therefore serves as a bridge between these different audiences, helping communicate a unified message while respecting the diversity of participants.

The collaboration with Icade and Osaro Agency provided an opportunity to explore how graphic design can support urban cultural initiatives. In this context, design becomes more than communication. It contributes to the visibility of artists, strengthens audience engagement and helps define the overall perception of the event.

The visual language developed for the project draws inspiration from street art culture while maintaining a professional and contemporary aesthetic. This balance allows the identity to remain connected to the artistic community while meeting the communication standards required for large-scale public events.

Projects such as Dreaming New Horizons demonstrate the importance of graphic design within cultural production. While murals and installations often receive the most public attention, visual communication plays an essential role in building awareness, attracting audiences and preserving the memory of the event.

Ultimately, this project reflects the intersection of graphic design, urban culture and editorial creation. From promotional materials to digital communication and publication design, every element contributed to creating a coherent visual experience that extended beyond the event itself and documented its impact over time.

.

A collection of sketches i made during lockdown.

ENDLESS CIRCLES canvas about neon city and empty center

During my graffiti travel in Hong-Kong i was inspired by plenty of neon signs in the Streets. I try to recompose streets with plenty of signs and building and I continue to explore how these visual elements shape our perception of modern cities.

The artwork Endless Circle is built around a reflection on urban perception, inspired by Roland Barthes’ analysis of Tokyo and its paradoxical structure. The idea of a city without a visible center becomes a conceptual foundation for exploring how contemporary urban environments function as systems of signs rather than fixed physical structures.

In many modern megacities, especially in Asia, the urban experience is defined less by architectural landmarks and more by constant flows of information, signage and visual stimuli. Neon lights, advertising panels, digital screens and overlapping symbols create a dense visual field that reshapes how space is understood and navigated.

The reference to Hong Kong and Tokyo is central to the development of this work. These cities are characterized by extreme verticality, layered infrastructures and a continuous saturation of visual information. This environment became a key source of inspiration for reconstructing fragmented urban compositions.

Endless Circle translates these observations into a visual structure based on repetition, fragmentation and accumulation. Instead of representing a single coherent cityscape, the work reconstructs urban fragments as if they were constantly circulating around an invisible center.

The influence of Roland Barthes introduces a theoretical dimension to the project. His interpretation of Tokyo as a city organized around an “empty center” becomes a metaphor for contemporary urban life, where meaning is no longer concentrated but distributed across multiple layers of signs and references.

In the video work associated with this piece, additional visual material is integrated, including fragments of urban signage and architectural details. These elements are partially obscured by white blocks, creating a tension between visibility and erasure. This process reveals the overwhelming density of information present in modern cities.

The use of white squares functions as both a compositional tool and a conceptual device. It highlights the act of perception itself, suggesting that urban reality is always filtered, selected and reconstructed by the viewer. What remains visible is only a fraction of the total visual environment.

The soundtrack inspired by Ghost in the Shell reinforces the cybernetic atmosphere of the work. The music introduces a futuristic dimension that connects human perception with technological environments. It suggests a world where physical cities and digital systems increasingly overlap.

Endless Circle can be understood as a reflection on the future of urban space. As cities evolve, the distinction between physical architecture and informational layers becomes increasingly blurred. Signs, data and digital interfaces become as important as buildings themselves.

The circular structure implied by the title reflects the continuous movement of urban experience. Rather than progressing toward a fixed destination, perception loops through layers of information, constantly reorganizing meaning without reaching a final center.

Ultimately, Endless Circle explores the relationship between cities, signs and perception. It connects theoretical reflection, travel experience and visual experimentation to construct a fragmented vision of contemporary urban life, where meaning is always in motion and never fully fixed.

”… conforming to Western philosophy, which regards each center as the seat of all truth, our town centers are always full. They are places where the values of civilization are collected and condensed : values of spirituality (with churches), power (with offices), money (with banks), goods (with department stores) and words (with the ‘agora’: cafes and walks).

Going downtown means encountering social ‘truth’, taking part in the sublime richness of ‘reality’. The city I’m referring to (Tokyo) presents this amazing paradox : it does have a center, but this center is empty. The whole city revolves around a place that is both forbidden and indifferent, an abode masked by vegetation, protected by moats, inhabited by an Emporer whom no one ever sees : literally, no one knows who does ever see him …

Its center is no more than an evaporated ideal whose existence is not meant to radiate any kind of power, but to offer its own empty center to all urban movement as a form of support, by forcing perpetual traffic detours. Thus, it appears as an image that unfurls again and again in endless circles, around an empty core … ” Roland Barthes

“DANS & SUR les Murs” Graphic Poster for a Street Art event

I had the honor of designing the visual communication for the street art event in Saint-Germain. My design is a unique composition featuring symbolic elements of the city, bringing together key figures and landmarks such as Louis XIV, Claude Debussy, the Château de Saint-Germain, and the iconic grey heron.

These elements come together to reflect the city’s rich history and its connection to culture and nature. This visual identity was created to capture the spirit of Saint-Germain while celebrating its heritage through contemporary street art. The artwork is used across both print and digital platforms, creating a cohesive image for the event.

I’m proud to have contributed to this meaningful project that merges art, history, and culture in such an iconic location. Few years later in 2023 i had chance to make a new poster for this event you can see it here!

This graphic design project for Saint-Germain-en-Laye is built around the idea of translating a city’s identity into a contemporary visual language. Rather than producing a simple event poster, the goal was to construct a layered composition that reflects both historical heritage and modern urban culture.

Saint-Germain-en-Laye is a city strongly marked by its royal and cultural history. Figures such as Louis XIV and Claude Debussy represent different dimensions of this heritage, from political power to musical legacy. Integrating these references into a contemporary street art-inspired composition allows a dialogue between past and present.

The Château de Saint-Germain acts as a central architectural reference. Its presence in the composition anchors the visual identity in a recognizable landmark while also reinforcing the historical depth of the city. It becomes a structural element within the graphic layout, similar to how walls function in graffiti compositions.

The inclusion of the grey heron introduces a natural and symbolic dimension. It connects the urban environment with the surrounding ecosystems, suggesting a balance between culture, history and nature. This duality is a recurring principle in many of my works, where organic and constructed elements coexist within the same visual system.

The design process combines illustration, graphic composition and graffiti-inspired visual language. This hybrid approach allows the creation of a dynamic identity that reflects the energy of street art while maintaining readability across print and digital media.

Urban graphic design projects such as this one require a balance between storytelling and functionality. The image must communicate clearly at different scales while also carrying symbolic depth. Each element is selected not only for its visual impact but also for its cultural significance.

The collaboration with Saint-Germain-en-Laye and Osaro Agency provided a framework for exploring how public art events can be represented visually before they even take place. The poster becomes both an announcement and a conceptual interpretation of the event itself.

Street art aesthetics play an important role in this visual identity. The use of layered composition, dynamic structure and contrasting elements reflects the visual grammar of graffiti while adapting it to a more editorial format.

This project also connects to a broader body of work focused on urban identity, public space and cultural memory. Across different cities and collaborations, the same approach is used: translating complex environments into visual narratives that combine history, architecture and contemporary expression.

Ultimately, the Saint-Germain-en-Laye graphic design project demonstrates how visual communication can go beyond information to become a form of cultural interpretation. It reflects the identity of a city while engaging with the visual language of contemporary street art.