RERO's work is built upon a unique visual grammar: the use of the Verdana font (a symbol of the digital era), systematically crossed out with a horizontal line. This act of crossing out does not seek erasure, but interrogation. It questions the limits of language and the contradictions of our time, and his work—at once incisive and poetic—captivates through its originality and intellectual depth. Featuring punchlines and aphorisms, the betrayal of images, and semantic games, RERO's work stands at the crossroads of urban practices, land art, and conceptual gestures.

Intriguing, luminous, and rich with a modern, transgressive poetry, RERO's works can be found in public spaces and the heart of nature. They have also been showcased at the Centre Pompidou, the CentQuatre, the MAC/VAL, the Vasarely Foundation, the Grand Palais, the Montresso* Foundation, the MAC Bogota, as well as the EDF Foundation.

Bold and daring, his oversized installations have taken root in the dunes of the Moroccan desert, the heart of Latin America, and the landscapes of California. "Oxymoron, visual minimalism, a new aesthetic dignity for deserted places and explicit messages... 'In Rero's work, art is an alarm system attempting to awaken the atrophied muscle of collective sensitivity,'" wrote the great art critic Achille Bonito Oliva regarding his practice.