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.

FROM LANGUAGE TO PRESENCE… This piece operates on a strictly semiotic register, exposing the inherent barriers of language. By utilizing copies of the text printed in non-Latin scripts, the linguistic content is rendered indecipherable to Western audiences, transforming text into pure graphic morphology. By striking through the phrase "FROM LANGUAGE TO PRESENCE," the work references the Fox’s canonical philosophy that language is a "source of misunderstandings." To move from language to presence is to advocate for pure ontological being—taming the alterity of the Other without the mediation of the signifier.