Maddam had been given a big wall... a very big wall... So she came early to create her 51m-long fresco, and we're lucky enough to be able to admire it already!
How do you like it? Do you like it?
How do you like it? Do you like it?
Once hung on a wall, a work no longer belongs to its creator. It lives, calls out, and emancipates itself. Especially when it stretches across fifty-one meters of concrete, exposed to all eyes, to critics and praise alike. It never stops moving, changing with the light, the distance, the moment.
Maddam, a street artist steeped in urban culture, knows all this. She abandons herself to this freedom, allowing her work to play with scale and perception. Along the Devil's Hole parking lot in Flumet, her fresco constantly oscillates between the infinitely large and the intimately small. From a step back, it appears like a surge, a graphic pulse. Up close, details emerge, shapes interlock, lines reinvent themselves. Nothing is fixed. Everything pulses.
At the epicenter, a familiar silhouette emerges: an angular, scalpel-like face, an elusive expression. Neither entirely human nor entirely abstract, it moves through the work like an echo, both spectator and actor of a moving mountain.
Her drawing, raw, instinctive, freehand, is born in the moment. It draws as much from the immediate energy of Keith Haring as from the rigor of Mondrian. But beyond these influences, a rhythm prevails: that of the street, of rap, of that culture where expression is urgent, where gestures do not lie.
Maddam never stops creating. Her universe overflows beyond her frescoes, imprinting itself on other media, even her own movements, sketched in space like a natural extension of the drawing. She traces, she stretches, she unfolds. Her gaze embraces the wall like a landscape, face to face with the surrounding mountain, allowing each viewer the freedom to read their own story.
A heart with outstretched arms? A burst of raw emotion? A play of shapes and colors? A spreading wave? An endless gaze?
It's up to you.
Text credits: Sophie-Anne Smilevitch ©Be on the Crest
Maddam, a street artist steeped in urban culture, knows all this. She abandons herself to this freedom, allowing her work to play with scale and perception. Along the Devil's Hole parking lot in Flumet, her fresco constantly oscillates between the infinitely large and the intimately small. From a step back, it appears like a surge, a graphic pulse. Up close, details emerge, shapes interlock, lines reinvent themselves. Nothing is fixed. Everything pulses.
At the epicenter, a familiar silhouette emerges: an angular, scalpel-like face, an elusive expression. Neither entirely human nor entirely abstract, it moves through the work like an echo, both spectator and actor of a moving mountain.
Her drawing, raw, instinctive, freehand, is born in the moment. It draws as much from the immediate energy of Keith Haring as from the rigor of Mondrian. But beyond these influences, a rhythm prevails: that of the street, of rap, of that culture where expression is urgent, where gestures do not lie.
Maddam never stops creating. Her universe overflows beyond her frescoes, imprinting itself on other media, even her own movements, sketched in space like a natural extension of the drawing. She traces, she stretches, she unfolds. Her gaze embraces the wall like a landscape, face to face with the surrounding mountain, allowing each viewer the freedom to read their own story.
A heart with outstretched arms? A burst of raw emotion? A play of shapes and colors? A spreading wave? An endless gaze?
It's up to you.
Text credits: Sophie-Anne Smilevitch ©Be on the Crest
Rates
Rates
Free access.
—
Openings
Openings
All year 2025 - Open everyday
