Urbanity insight

Brice Maré - Born in 1986 in Paris (France), lives and works in Thorigny-sur-marne (France).
interventions : drawing, studio works on wood and paper,
sculptures and 3D works, site-specific projects and murals

Brice Maré - Portrait

Futuristic frameworks

"In the structural utopia of an avant-gardist maze, Brice Maré disturbs the dimensions. Flat surfaces are converted into volumic objects, in favour of a suitable angle, of a bright ray of light that would reveal the assemblies of materials, letting out the complexity of paper framework buildings, constructed with sketched out intertwining. Engaged in a transdisciplinary trajectory, his stroke defends the combination of technical drawing and conceptualisation through the implantation context of the artwork. Laying on this relevantly-balanced duality, he sketches a personal language which is grasped out from the architectural and urbanised environment that surrounds us. If some are the directors of words, signs, figurative allegories, to fashion a new way of artistic expression, Brice Maré collects, inventories and classifies shapes to constitute an alphabet of geometric conventions, which will become prime material for the structures-to-be.

Thanks to a wise recon work, he combines ancestral ornaments and mathematical shapes from our daily life, gathered along his urban explorations, to create standardised outlines, to which he then adds his own artistic touch. Introducing an aesthetic dimension within the most plain technique, he brings a drawing (initially qualified as industrial) to an abstract composition with unexpected pictorial qualities. The spectator projects himself into a universe of paradoxical appeal. The cold rigours of the architectural masses come in conflict with the intriguing attraction to a structure, from which one can’t tell the scale nor the outlines. Black, white, grey, the range of chromatic contrasts is voluntarily neutral, reinforcing the elementary structure, playing with temperatures and soft shades. A production on paper that serves the accuracy of the stroke as the determining founder of the artwork. The figurative style doesn’t fit in this minimalistic universe, marker of a reasoned assimilation of the contemporary conceptual art.

Exploiting a certain transversality of the media, the artist continues his effort with the materialisation of his “micro-architectures”, through a complementary and evolving construction work. The original surface plans become three-dimensional models made to fit the space where they are created. The sculpture is necessarily to be thought of in situ. Its implantation matters as much as its formal conception for the success of the approach comes from the genuine correlation between these two parameters. The space is being exploited in its very least resources, bringing aesthetics to unsuspected potentials. A dulled tiling, a barrier corroded by time, a worn staircase… This dialogue between banality and disrepair transposes these elements into a contextualising base, bringing a so far unexplored light.

An invested and engaged artist, Brice Maré lives his artistic practice like a cause is defended. Long underestimated by the legitimating authorities of the art world, the art of drawing has been finding, for a few years already, a prominent place along the privileged media. Promoted by a generation of artists who have managed to set free from conventions and go beyond the usual figurative acceptations, this popular and demanding medium benefits from a federative enthusiasm. In this context favourable to the recognition of a now partition-free practice, Brice Maré undertakes for the second time a major editorial collaborative project with the publication of his book “Drawing 15”. Published last May, this collection of artworks is the achievement of a two-year curatorial research, willing to testify on the renewal of a revived genre. It is in this vein, freed from the pure aesthetics direction that he finds new finalities, quite close to the contemporary orientations. An orientation favourable to the development of an implicit speech where the artist’s utopian structures find echo in, opening a reflection interval on the language of the form, a semiology for construction."

© Urbanity - Urban fine art gallery

Brice Maré - Œuvre in situ | Urbanity - Urban fine art gallery

Brice Maré "Sans-titre 12", collage de multiples découpes de papier (exposition "Time and place" par Urbanity, Now Coworking Lyon)

Brice Maré - Installation in situ, Loire art Show

Brice Maré - Installation au Prieuré de Saint Loup (exposition Volume espace trait par le MUR)

Brice Maré "Élévation", installation adhésive in situ, Now coworking (Lyon, France)

Brice Maré, installation adhésive in situ, La Manufature 111 (Paris, France)

Brice Maré - Sculptures en bois

Brice Maré - Montage exposition, Espace Durand Dessert, Paris


#Inspiration | Urbanity / Your work reflects a transversal approach mid-way between the urban and the Fine-Arts culture. How would you position your approach ? Could your work be related to the graffuturism current?

Brice Maré / "This might be due to my study orientations: I first attended the Applied Arts School, and then the Fine Arts. I’d say that this transversality is complementary. In short, one is rather technical and executive and the other, theoretical and conceptual. Regarding that current, I do appreciate some of the graphical aspects, but I wouldn’t say I’m part of this movement. The same goes to graffiti, I’ve never considered myself as a graffiti artist, even though I’ve watched this movement closely. What I’ll keep from it, is the appropriation of the space. Taking long recon walks to select walls, supports, materials. This approach was a breakthrough in my practice, and to me everything suddenly took shape. This phase was a revelation."

Brice Maré - Installation in situ, Tour Gamma (Paris)

Who were the artists that have had an impact on you and inspired you more ? Which artist would you relate to your approach ?

"Krijn De Koning, André Bloc, Wojciech Gilewicz, Sol Lewitt."

You do a lot of research prior to a starting a creation. Could you tell us more about what is in your sketchbooks and the recurrent subjects on your environment photographs?

"I use my drawings as the starting point of my work. Basically, I draw abstract "micro-structures". I’ve constituted a glossary of geometric shapes that I then use as modules and that I put together to create new constructions. The sketchbooks are like a data base. I browse through them to find the drawings that would interest me to later develop them and decline them onto different supports, either in a studio or outdoor. I also take a lot of pictures. I keep files on several of the elements found in the city, like industrial framework, or buildings coatings, even the pharmacies crosses. All this side work is a source for my practice."

Brice Maré - Accrochage carnet de recherches plastiques | Urbanity

How did your time in the art schools influence your current productions?

"School allowed me to try different media, to question my reflection and to narrow my research. It is a meeting and an exchange space. It’s a very rich environment. School also widens our field of vision. You need to be very motivated because there are a lot of confrontations as well. You continuously have to defend your work..."

Brice Maré - Installation in situ, Loire art show

#process | Do you always start by drawing the outlines?

"Usually, I do. I have personalised several basic outlines that I use as a structure (like the isometric outline that I am using now). The outline may be more or less elaborate depending on the type of drawing and the chosen material."

Brice Maré - Croquis préparatoire installation in situ

Some of your drawings spread out onto very large formats like actual miniature towns. One of your piece even seems to go on endlessly, as you chose a roll of paper that is over three meters long for support. How do you know an artwork is finished?

"At that time, I was mainly drawing in sketchbooks. Each book was a direct result of what I was observing in the environment (railings, tiles, stairs…). I felt the need to escape that format and to move this creation flow onto only one support rather than onto several. It is as if I was putting the pages of the book side by side to constitute only one drawing. I stopped when I felt that the drawing was evolving into something that would allow me to shift to new shapes. On this one particularly, I went from rectangular to pyramidal shapes."

Brice Maré - Œuvre in situ (Tour Gamma, Paris) | Urbanity - Urban fine art gallery

You say to be working the way an "architect" does. Are you referring to the way you organise your work at the creating stage or to the artwork itself?

"I am not an architect but I could be related to this type of creating process, from the drawing to the model, from model size to full scale. It is within these production stages that a relation can be made. There is a scientific approach in the experimental relation, as well. Constantly trying and experimenting on new things, just like in a laboratory. I look for new shapes, new supports and new interactions daily."

Brice Maré "Sans titre 8", œuvre originale, micro architectures en découpes de papier cartonné

#ARTWORKS | Your work comes in many shapes, may it be drawings, sculptures, installations... How do your works interact among themselves? In what do they bear resemblance?

"I like to decline an artwork onto different supports to vary the interactions with the space, the material and the medium. From time to times, one artwork calls another, that is to say that it already contains the information of the next artwork (shapes, dimensions, outlines…). The research undertaken make me discover new processes or supports and trigger the wish to work with new media. I can create entire series and keep the same support several times."

Brice Maré - Lamelles de chant, installation in situ en adhésif au sol (Le Carreau du temple, Paris)

Most of the time you work with black and white, is this a way to better get close to the structure itself?

"I mainly use black and white, but I also use shades of grey. It is true that I am a minimalist in the quantity of colours I use, but it is only to be closer to the formal aspect of my pieces. Most of the time I work on tinted areas to suggest the very structure of my drawings. I very often use a very binary relation thus the use of only two colours. I’d say that the third colour is the light. It enables the artworks to become volumes, "a passage from 2Ds to 3Ds"."

Brice Maré "Sans titre 7", œuvre originale, dessin sur papier

Your works has an effect on the spectator through the formal character of the impact, thanks to a great mastery, both technical and plastic, and because it can modify the perception of space. May we consider that your approach offers a sensorial experience to the watching eye, which would lead to relating your work to a conceptual approach?

"I always try to create an interaction between the artwork and the space, and therefore between the artwork and the spectator. Which would lead to a conceptual, structural and aesthetic approach. It may be used in a direct or indirect manner. It is more about the will to change the perception of space."

Brice Maré - Installation in situ en volume, La Manufacture 111 (Paris), 2016

Can you tell us about the relationship between the pursuit for aestheticism and the delivery of a message in the creating process of your artwork?

"I try my best to have a rendering close to the perfection the industry order would have. Regarding my remarks, it is only logical that there would be no technical flaws in my productions. I am rarely satisfied of the technical quality but I do try to get as close as possible. The clearer the artwork, the more efficient the message. The context is a part of the artwork."

Brice Maré "Sans titre 10", collage de multiples découpes de papier cartonné en nuances de gris

#SITESPECIFIC | When you worked for the Jacques Coeur Palace in Bourges, in 2012, how did you manage to create interactions between your work and a gothic private mansion ? What was the audience’s reaction towards your installations?

"First of all, at that time, I was drawing my inspiration from the Roman Art, and later I was able to visit it. I noticed that the architecture of the edifice was a transition from Roman to Gothic art. This is how I have been able to evolve graphically on an ornamental level. It had become obvious to me, given my current research, that this space needed interaction. I acted in coherence with the existing framework (paving, stained-glass, tiling…). I tried to synthesise my constructions to have a dialogue with the space on an architectural level. The reaction with the audience went very well. They felt a true connection with the space and did not perceive my works to be a disturbance to the spirit of the site."

Brice Maré - Sculpture (Palais Jacques Cœur, Bourges)

Brice Maré - Sculpture (Palais Jacques Cœur, Bourges)

You regularly create installations for public spaces. Are you inclined to also work for collectors? How to apprehend the creation of an artwork destined to a public space, with free access to it, in comparison to an artwork acquired by a collector for a private space?

"May it be an institutional order, a spontaneous intervention or a request by a collector, my approach remains the same, it is simply the site that changes. I admit that in a household, the space may be a bit reduced, but this is not an inconvenient. I like the challenge to adapt to all situations, I live together with the space, it is not a constraint. The artworks are created specifically for that site."

Brice Maré "Élévation", œuvre in situ

#Projects | You’ve worked with several artists on "Drawing 13". Can you tell us about how you selected the artists and what this project means to you?

"It had been a while since I wanted to work with other artists on drawings. The idea was to gather several artists’ drawings and have them interact. I made the acquaintance of many nice people and had many constructive exchanges to make this work come true. This is a first for me. At the beginning, I was thinking of working with a few artists with whom I have graphic sensitivity and a common drawing approach. But then, the project got bigger, so I decided to broaden the drawing possibilities, and subsequently the artists as well. It is important to me to spread this practice, give a noble status to drawing."

Brice Maré "Sans titre" dessin grand format

You are currently preparing "Drawing 15", following on from your first work. Could you give us a few insights on this project?

"The first one was a new experience. For the second one, I’m trying to sharpen my eye towards the drawing and the edition. May it be in the choice of artworks or the connections between them. At this time, the selection is over. 40 artists will be credited for this work limited to 150 copies. It should be released during the year 2015."

Have you already worked in collaboration with artists issued from Urban Art who use distinct technics from yours ? Is this something to think about?

"Yes I have already had this kind of collaboration. This are nice moments of exchange. I’m excited at the idea of working with other artists and of discovering new universes."

Exhibitions & projects


"Loire art show" by Sacre bleu, site-specific installation, Orléans (France).
"Surélévation", solo show and embossed limited edition print launch by Impression parisienne, Galerie Artligue, Paris (France).
"Gradation", site-specific installation for Second Square 10, Le carreau du temple, Paris (France).
"Volume-espace-trait", collective exhibition, Le mur, Prieuré de Moret-sur-Loing (France).


"Élévation", site-specific installation, Now, Lyon (France).
"Time and place" by Urbanity - Urban fine art gallery, solo show and site-specific installation, Now, Lyon (France).
"Vaste et véloce" by Galerie Vaste et Véloce, collective exhibition, Espace Durand-Dessert, Paris (France).
"ArtWork", collective exhibition, La Manufacture 111, Paris (France).
"Lamelles de chant", site-specific installation, Le Carreau du temple, Paris (France).
"Wall exhibition", site-specific installation, curated by Labolic, Le Nucleus, Ivry-sur-Seine (France).
"Prototypes", solo show and site-specific installation, Confluences, Paris (France).


Artist residency and site-specific installation, Zarya, Institut Français / Alliance Française, Vladivostok (Russie).
Site-specific project, 59 Rivoli, Paris (France).
Site-specific project, La Manufacture 111, Paris (France).
Site-specific project, Festival Braises d'aujourd'hui, Confluences, Paris, (France).
"Double battants", site-specific work, Adhocraum, Bochum, (Allemagne).
"Drawing 15", collective exhibition and book launch, Galerie Jed Voras, Paris, (France).


"Enchanté Paris", Galerie Jed Voras, Paris, (France).
"Vu, déjà vu, pas vu", Le Chêne, Villejuif, (France).
"Hors saisons", Point Éphémère, Paris, (France).
"Open atelier #7", Festival Mofo, Mains d’œuvres, Saint-Ouen, (France).
"Structures", Château d’eau, Bourges, (France).


"Brice Maré", solo show, Maison Bleue, Strasbourg, (France).
"Biennale internationale d’art non objectif", Pont de Claix/Sainte Marie d’Alloix, (France).
"La Zone", Tour Seegmuller, Strasbourg, (France).
"Installation", Palais des arts, Marseille, (France).


"Dimensions", solo show, Palais Jacques Coeur, Bourges, (France).
"Luxe calme et volupté", Citadel of Namur, (Belgium).
"Xxmass-murder", collaboration with Rohan Graeffly, Artist Showcase, Namur, (Belgium).


"Brice Maré", solo show, Maison Bleue, Strasbourg, (France).
"Biennale internationale d’art non objectif", Pont de Claix/Sainte Marie d’Alloix, (France).
"La Zone", Tour Seegmuller, Strasbourg, (France).
"Installation", Palais des arts, Marseille, (France).


"Sculpture en l’île", for Balades en Yvelines event, Sur l’île Nancy, Andrésy, (France).
"Mémorable: 3 gestes pour résister", Atelier Grognard, Rueil-Malmaison, (France).
"Rendez-vous aux jardins", Domaine nationale de Saint-Germain-en-Laye, (France).
"Sans Conservateur", Colod’Art space, Strasbourg, (France).
"Mobilis II", Château de Rueil-Malmaison, (France).


"Latwall", solo show, Rue de l’aimant, Strasbourg, (France). 
"L’ Attentart", Strasbourg, (France).
"Diversion", Rue des Franciscains, Mulhouse, (France).


"Orient/Occident", SACIM Versailles, Le Chesnay, (France).
"L’atelier Klodin’ Delor", Rueil-Malmaison, (France).
"Trois petits points…", Trois petits points… gallery, Rueil-Malmaison, (France).


"Folie les mots 05", Festival, Faux-La-Montagne, (France).


"Rue-Stick 01", Passage des Taillandiers, Paris, (France).


"I try my best to have a rendering close to the perfection the industry order would have. Regarding my remarks, it is only logical that there would be no technical flaws in my productions. I am rarely satisfied of the technical quality but I do try to get as close as possible. The clearer the artwork, the more efficient the message. The context is a part of the artwork." Brice Maré

Brice Maré - Œuvre in situ, exposition "Time and place", Now coworking, Urbanity

"From his drawings, representing progressive “micro-architectures” in the form of plans or volumes, Brice Maré puts to scale his creations according to the space and the support given. He mainly feeds on architectural ornaments (diamond tip bricks, cathedral reinforcements, semi-circular arches), and urban signs (pharmacy crosses, road signs…), found in the cities. When following the existing outlines, as much on paper (squares on ruled paper, isometric grids…) as in the real space (tiling, wood floor, heaters, stairs…), he inserts his abstract architectures, which thus become contextualised." (Text from the artist "Brice Maré 2013-2009").

Brice Maré "Sans titre 10", collage de découpes de papier, œuvre originale

  • Brice Maré - Framed collage on black paper, 42.7X32.7cm, 2014
  • Brice Maré - Framed collage on black paper, 32.7X42.7cm, 2015
  • Brice Maré - Framed collage on black paper, 32.7X42.7cm, 2016
  • Brice Maré - Framed collage on black paper, 32.7X42.7cm, 2016
  • Brice Maré - Framed collage on black paper, 42.7X32.7cm, 2014
  • Brice Maré - Framed collage on black paper, 42.7X32.7cm, 2014
  • Brice Maré - Framed collage on black paper, 42.7X32.7cm, 2014
  • Brice Maré - Framed drawing on paper, 53X53cm, 2013
  • Brice Maré - Framed drawing on paper, 73X103cm, 2013
  • Brice Maré - Framed drawing on paper, 60X80cm, 2014
  • Brice Maré - Framed collage on black paper, 32.7X42.7cm, 2015
  • Brice Maré - Framed collage on black paper, 32.7X42.7cm, 2015


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