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.

These diptychs function as cognitive disruptors. The textual component destabilizes our analytical urgency, while the material element offers an immediate visual anchor. Ultimately, works like "BE PASSIVE YOU WILL LIVE LONGER..." serve as explicit, institutional commands to halt contemporary hyper-acceleration, transforming the artwork into a critical portal for presence, memory, and psychological reclamation.

In this second body of work, my conceptual vocabulary intersects with Antoine de Saint-Exupéry’s The Little Prince—a text elevated to the status of a universal cultural monument. By subjecting this artifact to contemporary artistic intervention, a sharp tension is enacted between the lost innocence of childhood narrative and the cold, analytical rigor of institutional critique.

Open volumes are permanently arrested within a translucent, semi-opaque matrix of resin. This material choice bestows a sleek, mineral finish while simultaneously functioning as a shroud or a fossil. By freezing time, the resin renders the codex permanently unreadable and untouchable, shifting its status from a functional literary object to a museological artifact of pure contemplation.

The Panel of Matter (The Therapeutic Blue): Executed on wood through dense, highly layered pigmentations, this panel prioritizes chromatic abstraction and tactile exploration. Interweaving deep blue pigments with terrestrial and auric undertones, it bypasses cognitive processing to appeal directly to sensory affect. Evoking oceanic vastness and cosmic depth, it resides strictly within the realm of immediate phenomenal experience.

The Panel of Form (The Conceptual Text): In stark contrast, the opposing panel adopts a minimalist, clinical austerity. Utilizing my signature typography rendered in relief and systematically bifurcated by a horizontal strike-through, this surface engages the viewer’s intellect, rational apparatus, and the cognitive mechanics of reading. It belongs entirely to the realm of language and conceptual deconstruction.