Public art

“For the past 30 years, the prolific Guillaume Bottazzi has been travelling the world to disseminate works in situ. A keen espouser of enamel and fabric, he is an ambassador for environmental art.”
Le Monde newspaper, September 2020

“At a time when mental well-being is becoming an increasingly important concern, Guillaume Bottazzi’s works of art are a breath of fresh air.[…] These works decorate, yes, but they also transform our relationship with space, modulating our emotions and our well-being. Using materials such as enamel on tempered and laminated glass, Bottazzi creates a play of light and colour that invites contemplation and serenity.”
Muuuz magazine, February 2024

“French artist recognized as one of the pioneers of neuro-aesthetics, Guillaume Bottazzi has created more than 100 works of art in public spaces over the last thirty years. His environmental artworks, both indoors and outdoors, are the result of a holistic approach incorporating a range of parameters.”
La Libre Belgique newspaper, January 2023

“Guillaume Bottazzi’s poetic creations invite us to experience a richer life, to strengthen our essence, to build our evolution in their company, within a magical universe. […] They give birth to poetic and enchanting spaces, whose metamorphosis follows the whims of our imagination.”
Muuuz magazine, September 2023

“These works create a peaceful atmospheric quality. Zen-like, these creations give an impression of calm and freshness.”
Prestige International magazine, summer 2021

“Guillaume Bottazzi is the first to be convinced that certain works of art act like medicine, making us happier. He has been exploring the intimate links between neurology and art in our living spaces for more than a decade, focusing on our well-being.”
La Libre Belgique newspaper, April 2024

“Bottazzi’s latest endeavor continues his mission to improve our biology by employing his paintings in another way: Nutty, a lighting collection of circular fixtures […]. ‘I have long dreamed of painting with light,’ Bottazzi says, ‘and that the poetry of my work will make people feel good.’”
INTERIOR DESIGN magazine, August 2024

“Approached by two Austrian neuroscientists several years ago, they demonstrated the influence of Guillaume Bottazzi’s work on reducing anxiety and increasing dopamine levels.”
Juliette & Victor Magazine, winter 2022-2023

“The works of Guillaume Bottazzi create dreamlike spaces a dreamlike space in which we live. Space does not exist in itself but is a mental construction. These works beyond reality modify our environment and make our dream.”
TL Magazine, may 2021

“Two new monumental works by the painter Guillaume Bottazzi are part of Marseille’s heritage. For the pleasure of the eyes, these two poetic works will be visible to all passers-by. The fuchsia and buttercup pink tones lead us sinuously into a deliciously unreal universe. They create a dreamlike, enchanting space that evolves according to our imagination. These creations are an ode to the joy of living. They are made with enamels, a natural material composed of powdered minerals.”
Muuuz magazine, July 2022

“Guillaume Bottazzi, pioneer of the neuroaesthetics stream, has since over 30 years signed about 100 artworks in public spaces.”
Les Echos newspaper, May 2021

“The famous French artist Guillaume Bottazzi signs his 100th work in the public space with a painting that integrates the cathedral reception hall of the L’Archipel residence in Alfortville, Grand Paris. […]With this 100th work enthroned in the public space, Bottazzi signs a creation not only aesthetic but with recognized therapeutic virtues, which will delight visitors!”
Muuuz magazine, May 2022

“Few artists can claim to create works that make us feel good with scientific evidence to back them up. This is the case with Guillaume Bottazzi, whose works have been the subject of a scientific study in cognitive psychology entitled “The art of curves in the real world, a psychological look at the works of Guillaume Bottazzi”, which proves that the painter’s creations do the viewer good. They reduce anxiety and produce dopamine.”
La quotidienne, July 2022

“The French visual artist and painter Guillaume Bottazzi is known for his striking, soft and colourful works, which he integrates into public spaces, for museums and private collectors.”
Robb Report magazine, April 2019

“The Miyanomori Art Museum in Sapporo has decided to give French artist Guillaume Bottazzi carte blanche to decorate its 900 square meters of facades. The Japanese institution could not have chosen an artist according more closely to its own views: since the 1990s, the artist has been using fresh and colourful paint on wall and canvas, which has earned him a number of exhibitions and public commissions in France and Japan.”
L’Oeil magazine & Le Journal des Arts, December 2011

“The French artist has just completed Japan’s largest mural at the Miyanomori Art Museum in Sapporo. This 900m² work was initiated as part of the “Hope 2011″ event, constituting a tribute to the victims of the March 2011 earthquake and tsunami.”
Flux News, quarterly magazine of contemporary art news, January / February / March 2013

“The sculpture takes place in the Domaine des Diamants Blancs in the extension of Mallet-Stevens’ garden which adjoins the Domaine. The 3 meters high artwork made of enamels creates a poetic and enchanting space in the heart of nature with the aim of making the visitors fulfill their dreams by nourishing the imagination.”
Contemporain(s) magazine, February 2021

“His most recent installation is a permanent collection designed for a Beaux-Arts-style building listed as a heritage site by the city of Brussels. The new pieces are described by some as having “the power to enhance our ability to live better and feel good”. These luminous works of art in situ reduce our heart rate, stress, and anxiety, and help us to put our thoughts in order.”
DARC magazine, April / May 2024

“With this installation by Guillaume Bottazzi, the residents of the residence will be immersed in a poetic and enchanting universe, an ode to the joy of living.”
Immoweek, July 2022

“The immersive tools offered by abstract art enable Bottazzi to create ethereal forms that, as if flowing, are blurred and merge with the surface. The support becomes an integral part of the work and exudes the idea of infinity.”
Arte Al Limite magazine, summer 2017

“These lighting creations give us space to breath and embody the artist’s connection with Japan where he has worked in since 2004.”
DARC magazine, January 2019

“Guillaume Bottazzi is used to creating works in public spaces. He belongs to the environmental art movement.”
Monaco Hebdo, September 2021

“After a neurological study carried out in 2016, The Art of Curves in the Real World, a psychological look at the art of Guillaume Bottazzi, by Helmut Leder and Marcos Nadal, we are told that art has an effect on our brain. The works of Guillaume Bottazzi are proof of this study.”
Résidences Décorations magazine, January 2019

“Designed to promote a sense of everyday well-being, Guillaume Bottazzi’s lamps are inspired by a zen approach to Japanese-style living.”
Belles Demeures magazine, February 2019

“These lighting creations serve an elegant and poetic vision, it gives us space to breathe and relate to our energy.”
The Cheschire Magazine, February 2019

“The Paris Business District is putting on a show and doing so with dizzying boldness! At the foot of the glass and steel skyscrapers, the forecourt has become an extraordinary contemporary art gallery. Created in three months, the monumental fresco by the painter Guillaume Bottazzi is the 70th work in what is the largest open-air modern and contemporary art complex in France.”
Arc-en-Ciel, Air Caraïbes, inflight magazine, summer 2015

“This pioneer of neuro-aesthetics strives […] to create […] works of art designed, by modifying our brains, to make those who look at them happy. Guillaume Bottazzi, […] has“For two weeks, Guillaume Bottazzi painted grey, red and yellow curves between the Arche de la Défense and the Paris La Défense Arena, a high-traffic area during the Olympic Games, as the sports hall will host aquatic events. Visible from the stairs of the Arche, this polyptych accompanies the wall of the circular boulevard. Six 6 x 4 m paintings cover a 144 m2 façade.” 
Le Parisien newspaper, July 2024

“Games of urban planning – Guillaume Bottazzi, a contemporary painter, has created two giant works to decorate the entrance to a skyscraper, offering up two strange, soft, moving and colourful shapes to the rigid verticals of the architecture. The visual artist, known as far away as New York and Tokyo, creates a playful world of floating and acidulous curves that offers the concrete a beautiful exercise in weightlessness. A nod to the austerity of many cities.”
Art&Décoration magazine, January 2010

“When you approach them, you are first struck by the flying forms, curved circles and lines, volutes and circulations, which make up these murals. They float in space with a lightness that the density of the masses, however, did not allow us to foresee. They create a unique atmosphere.”
Revue Urbanisme, October 2009

“A new monumental work by Guillaume Bottazzi is on display in Lyon, and can be discovered during the European Heritage Days. It is composed of enamels on glass and measures 3.55 m by 1.20 m. Guillaume Bottazzi translates his drawings using enamels on glass. The turquoise, blue and emerald green tones are a reference to the Saône and to the curves of the building’s atypical architecture. It is a poetic work and its dimension immerses the passer-by who can imagine, without seeing himself, to be within a surreal and aquatic universe.”
Le Parisien newspaper, September 2020

“Guillaume Bottazzi’s works invite us to let go of our inhibitions and dare to dream […]. “
Widewalls Magazine, May 2016

“The penetration and impact caused by Bottazzi’s creations go beyond the volume conjured up by three-dimensionality. The interventions are set up as part of the environment, an environment that the visitors reclaim from a new perspective when they see it intervened by the artist.”
Arte Al Limite magazine, summer 2017

“The works of Guillaume Bottazzi invite the observer to recreate the work, not only through our interpretation of the signs but also through the modelling of space, or rather of spaces.”
Azart magazine, March 2010

“Guillaume Bottazzi’s oils on canvas are comforting […] there is warmth, softness and infinite subtleties in the nuances, the shading, the blurring.”
Maison & Jardins actuels magazine, December 2012

“Guillaume Bottazzi, who has visited Japan on many occasions, was greatly dismayed by the terrible impact of the earthquake and tsunami that devastated Japan in March 2011. The decision to rebuild the museum and to ask a leading European artist to join this message of hope marked by the rebirth of the museum proves that contemporary art can stimulate courage by showing the way to reconstruction.”
Le courrier de l’Architecte magazine, September 2011

“Guillaume Bottazzi’s arrives at its definitive home in the art spaces of La Défense, where it becomes the 70th work of art on display. La Défense week offers an opportunity to discover the work of Guillaume Bottazzi, who has here created […] a painting covering more than 200 m², in the form of six pictures measuring six metres by six metres. They round off the already rich collection in the business district, comprising works by artists from Alexander Calder to Richard Serra, Joan Miró and César.”
Le Journal du Grand Paris, September 2015

“In the world of the city, works of art in public spaces soften the confrontation with an urbanism sometimes perceived as dehumanised: the works of Guillaume Bottazzi contribute to the well-being of the city’s inhabitants by introducing strangeness into their daily lives, a touch of fantasy in all the rigour.”
Arc-en-Ciel, Air Caraïbes inflight magazine, summer 2015

“Guillaume Bottazzi does not confine himself simply to rounding off the corners of the buildings he covers; his creations use a glazing technique transposed on a large scale to obtain effects of transparency, a play of light and shadow in which the gaze loses itself.”
L’œil  magazine & Le Journal des Arts, December 2016

“When looking at this kind of painting, the form speaks for itself, and the spectator or the local resident can let themselves go to their elations and their dreams.”
Revue Urbanisme, October 2009