Public art outdoor

“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

“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 Miyanomori Art Museum in Sapporo has decided to give French artist Guillaume Bottazzi carte blanche to decorate its 900m² 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

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

“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, July/August 2015

“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, July/August 2015

“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

“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

“It is evident that the very ‘fruity’ palette in the work as well as its diversity of forms favours a less dull existence. Isn’t this why the artist constantly stresses the essence of his project: an invitation to travel?”
Revue Urbanisme, October 2009

“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

“Directly linked to the projects to revitalize the European quarter in Brussels, this monumental work aims to improve the quality of life and well-being of the people who frequent the place.”
madame FIGARO magazine, May 2017

“What distinguishes Guillaume Bottazzi is that he composes abstractions. His creations are not simple murals, but an artistic intervention. Indeed, one can see that in the final analysis people are quite happy to look at contemporary art. This surpassing of the merely decorative has an almost educational vocation. Without any narrative suggestion, therefore, the work raises questions about art.”
marie-claire magazine, October 2009

“The visual artist Guillaume Bottazzi affirms that ‘art in the urban environment makes it possible to take action in a global way on the social fabric’. His works, abstract paintings created in specific places, have been exhibited all over the world.”
La Gazette des Communes magazine, May 2010

“For this artist, who creates abstract compositions in warm colours, a work is never finished and continues to reinvent itself over time. His oblong forms in search of unity sometimes make reference to cellular corpuscles liquefying and floating through space. As always, any interpretation will be in keeping with this […]. The artist is happy to stay away from any attempt to re-appropriate these signs by inviting the spectator to immerse himself in his work.”
Flux News, quarterly magazine of contemporary art news, January/February/March 2013