Meeting of Styles Belgium returned to Antwerp, artists from across the globe transformed more the urban arena at the Zomerfabriek in street art district Berchem, during an electrifying & scorching hot weekend of live painting, culture, and community at Meeting of Styles Belgium. Guided by this year’s theme, “Togetherness,” the artists turned collaboration into a visual language, blending styles, stories, and shared energy into one collective wall. Get ready to read the stories behind this open air gallery that’s open for a year until the next edition…

If you walked the Meeting of Styles Belgium walls this year, you felt it immediately: the raw, emotional charge of CHR15’s work. A black‑oil figure emerging, or dissolving, into a dark sea, a hole carved into its chest, yet somehow radiating the sense that something new is forming. It’s the kind of piece that doesn’t shout its meaning but lets you stand there, wondering whether you’re witnessing collapse or rebirth.

That ambiguity is exactly where CHR15 thrives.

A spark in 1997

CHR15’s story begins in Leipzig, long before the internet could explain what graffiti even was. At eleven years old, he spotted a chrome rooftop piece floating above a demolished building, OPC, Old Paunsdorf Crew. He didn’t understand it, but he felt it. That moment became the ignition point for nearly thirty years of painting, exploring, and building a life inside graffiti culture.

From school routes to visits to his grandmother, the city became a map of discoveries. He and his friends leaned in, and they never leaned back out.

Self‑taught, self‑driven

CHR15 never followed formal artistic education. Instead, he learned by painting, failing, improving, and watching the German graffiti scene evolve around him. When Maclaim appeared, he realized there was no ceiling, only the next level.

That mindset still drives him today.

Classic graffiti, pure emotion

His style? Classic graffiti with a character. Fill‑in, outline, second, highlight, bubbles. But beneath that familiar structure lies something deeply personal.

Most of his letterings are freestyle, whatever his inner world is doing that day becomes the piece. The characters amplify that emotional state, sometimes in ways he only understands months later.

A five‑way collaboration

For MoS Belgium, CHR15 joined a five‑artist production, together with Franz Werk, Sirom, Wery and Abys.

Instead of merging styles into one giant hybrid, they chose restraint: a simplified color scheme and a single graphic element connecting all pieces. Each artist took a spot, following a shared line that acted as a subtle guide.

It’s collaboration through minimalism, letting each voice speak while still forming a collective rhythm.

First time in Antwerp

This was CHR15’s first visit to Antwerp. The architecture impressed him; the heavy police presence, not so much. Time was short, and the festival schedule tight, so he left knowing he’d barely scratched the surface of the city.

The MoS piece: rising from the swamp

His MoS Belgium mural continues his recent exploration of black‑oil characters. This one appears to melt into, or rise out of, a dark pool, a hole in its chest suggesting loss, transformation, or renewal.

That uncertainty is the point. The viewer decides.

Why MoS matters

CHR15 has run major graffiti platforms and knows the international scene well. For him, MOS Belgium was a personal milestone.

Meeting of Styles is both a global brand and a local expression. Every edition feels different, shaped by the organizers, the city, and the artists who show up.

Discoveries and reunions

He finally met artists he’d followed for years, discovered new ones he now supports, and painted alongside legends. That mix, familiar faces and fresh surprises, is part of what makes MOS electric.

What he hopes visitors take away

CHR15 doesn’t paint with expectations. He paints because he has to. If someone pauses, even briefly, and feels something—anything—that’s enough.

How he experienced MOS Belgium 2026

Short answer:

Long answer:
Perfect organization, friendly people, a beautiful area, fresh precoated walls, drinks, fun, and flow. A trip worth remembering.

Ultimate urban art guide: Street Art Cities

And as always, the walls of MOS Belgium don’t fade when the weekend ends, you can discover every mural, its story, the history behind and its place in Antwerp’s urban fabric through the free Street Art Cities app. Discover it and use the app’s social features: like it, mark it as ‘seen’ or write a comment. And make sure to check the history on the wall thanks to the unique Street Art Cities ‘TIMELINE’ feature!

Meeting of Styles Belgium returned to Antwerp, artists from across the globe transformed more the urban arena at the Zomerfabriek in street art district Berchem, during an electrifying & scorching hot weekend of live painting, culture, and community at Meeting of Styles Belgium. Guided by this year’s theme, “Togetherness,” the artists turned collaboration into a visual language, blending styles, stories, and shared energy into one collective wall. Get ready to read the stories behind this open air gallery that’s open for a year until the next edition…

The wall he painted in Antwerp doesn’t just sit there, it vibrates. It carries the unmistakable signature of Apset, born in 1984 in Thessaloniki, active in graffiti since 1998, and one of the most quietly influential figures in Greece’s contemporary urban art landscape. For Meeting of Styles Belgium 2026, his first time painting in the country, he arrived with decades of experience, a hybrid visual language, and the calm confidence of someone who has lived the culture from the inside out.

Introduction - Who is Apset?

Before he stepped onto the Meeting of Styles Belgium wall in 2026, Apset had already lived a full lifetime inside graffiti culture. Born in 1984 in Thessaloniki, he grew up in a city where the streets speak loudly, politically, socially, visually. It was there, in 1998, that he first picked up a can and began shaping the identity that would follow him across Europe.

His style reflects that duality: a fusion of graffiti lettering, graphic design structure, and realistic portraiture, woven into a visual language that feels both precise and emotional. It’s a style that carries the weight of history but remains open, curious, and evolving, a style that made his first appearance in Belgium not just a visit, but a milestone.

The first spark, graffiti as urgency

Apset’s entry into graffiti wasn’t driven by aesthetics. As a teenager, he felt an urgent need to express himself, and the street offered the most direct channel. Communication came first; visual refinement came later. Public space became his first canvas, the place where he learned to speak through color, form, and presence.

Education: the streets and the academy

Although he insists that neither painting nor graffiti can truly be taught, his path includes formal training. He studied Graphic Design in Thessaloniki and Poland, followed by an Integrated Master from the School of Fine Arts at Aristotle University. Academic study gave him technical foundations and theoretical perspective, but his artistic identity was shaped equally by the “university of the streets.”
He is part of Off the Grid, a member of EETE Greece, and a founding force behind P.A.F. (Pelekas Art Festivals, Corfu) and S.A.F. (Street Art Festivals, Thessaloniki) — communities built around collaboration and experimentation.

Themes: identity, introspection, presence

Recurring themes in his work include identity, introspection, and human presence. Faces appear fragmented yet whole, suggesting inner movement or emotional tension. His use of contrast and geometry reflects both his design background and his graffiti sensibility. The work often feels like a meditation on how people exist, in cities, in communities, in themselves.

First time in Antwerp & a new pin on the map

Meeting of Styles Belgium 2026 marks his first time in Antwerp. Despite the heat and the costs, he describes the experience as one of the best MOS editions he has ever attended, and his first was back in 2005. The city welcomed him with its architecture, its rhythm, and its openness to urban art.

Discovering Antwerp: architecture and atmosphere

Apset explored the city center on the final day and was struck by the architecture, the mix of old and new, the way history sits comfortably beside contemporary life. Antwerp left a strong impression, enough that he hopes to return.

The MoS Belgium piece

For MOS Belgium, Apset created two murals, “two pins on the earth,” as he calls them. Each piece carries his signature fusion of portraiture, geometry, and design. They connect to his wider body of work while responding to the energy of the festival and the artists painting around him. The murals stand as markers of presence, exchange, and contribution.

Meeting of Styles & why it matters

From an artist’s perspective, Meeting of Styles is more than a festival. It’s a crossroads, a place where cultures, techniques, and experiences collide.

The lineup: new names, old friends

He was impressed by the lineup, discovering new artists he hadn’t encountered before and finally meeting others he had only known through their work. Conversations flowed easily, ideas, techniques, stories, and beers exchanged across the wall.

What visitors should take away: a moment of reflection

From his mural, he hopes visitors take away a sense of introspection — a moment to pause, to look closely, to feel something. His work often invites viewers to consider identity and presence, and these MOS pieces are no exception.

One of his best MoS editions

In a few words, Apset describes Meeting of Styles Belgium 2026 as one of the best editions he has ever experienced. The energy, the artists, the organization, the city — all aligned. And now, two new pins remain on Antwerp’s walls, marking his first visit and adding his voice to the city’s growing archive of urban art.

Ultimate urban art guide: Street Art Cities

And as always, the walls of MOS Belgium don’t fade when the weekend ends, you can discover every mural, its story, the history behind and its place in Antwerp’s urban fabric through the free Street Art Cities app. Discover it and use the app’s social features: like it, mark it as ‘seen’ or write a comment. And make sure to check the history on the wall thanks to the unique Street Art Cities ‘TIMELINE’ feature!

Apset is also a verified artist on the Street Art Cities platform, so make sure you follow him to get notified when he releases new work.

Meeting of Styles Belgium returned to Antwerp, artists from across the globe transformed more the urban arena at the Zomerfabriek in street art district Berchem, during an electrifying & scorching hot weekend of live painting, culture, and community at Meeting of Styles Belgium. Guided by this year’s theme, “Togetherness,” the artists turned collaboration into a visual language, blending styles, stories, and shared energy into one collective wall. Get ready to read the stories behind this open air gallery that’s open for a year until the next edition…

Introduction — Who is Alberto Cosis?

Alberto Cosis is a self‑taught graffiti artist from a small village in Lower Salento, Lecce. His path into graffiti began at twelve, sparked by local tags and an MTV music video that opened an entire universe to him. Since then, he has balanced humble day jobs with an unwavering dedication to art, developing a style that merges strict geometry with playful, curving characters. His work is a study in duality, structure and imagination, precision and childhood wonder, all held together by a search for harmony.

A first step beyond home

Though deeply rooted in his region, Alberto has traveled widely over the years, Antwerp is not his first time abroad, but it is the first time he has ever painted outside his home territory. That makes this MOS edition a meaningful milestone.

Stepping into Belgium felt like stepping into a long‑delayed dream. The historic center captivated him immediately: folklore, monuments, old stones whispering stories. He wandered through it with the curiosity of someone who has waited years to see what lies beyond Salento.

Origins of a spark

His journey began in childhood, watching older kids tag walls and feeling something stir. Eminem’s “How Come” on MTV sealed the deal.
He picked up a spray can and everything changed.
He wanted to exist through creation.

Self‑taught discipline

Alberto never attended art school. He works as a school caretaker, and it’s precisely in these ordinary moments, cleaning, helping teachers, that inspiration strikes.
Creativity, for him, is a spark that arrives unannounced.
He protects that spark by refusing to force it or rely on it financially.

The style he built

His lettering has evolved into a personal language: black, geometric, three‑dimensional, and intentionally readable. He puts effort into clarity, even within abstraction. The colors that surround and cut through his letters form a secondary layer of curved lettering, acting as texture rather than decoration. His characters, reptiles, amphibians, invented beings, express his playful, childlike side. This duality is central to his work: precision and imagination, structure and fluidity.

The MOS idea

The concept for his Antwerp piece arrived during a regular workday. A sudden intuition. He stopped, sketched, and realized his lettering had evolved, curved colors filling geometric forms.
That sketch became the mural we see now: a harmony of opposites, a balance of tension and calm.

The wall at MOS Belgium

His piece radiates serenity. Geometric letters anchor the composition.
Curved color fields soften it.
The contrast becomes harmony, a visual conversation between discipline and imagination.

Encounters and community

At MOS, Alberto met artists he had admired from afar and discovered new ones. The excitement in his words is unmistakable, gratitude, joy, and the thrill of finally being part of a global scene.

Future plans

He doesn’t force the future. He lets things happen.
But the direction is clear: outward, onward, into the world he dreamed of painting as a kid.

Closing

This event was a first for everything: his first international wall, his first MOS.
A childhood promise fulfilled. Alberto leaves Antwerp with a full heart, new friendships, and the certainty that this is only the beginning.

A perfect example of how Meeting of Styles Belgium shapes the journey of artists that visit, over the years many artists used MoS as a stepping stone and built a renomated career. One of the overlooked but very important things of events like this.

Ultimate urban art guide: Street Art Cities

And as always, the walls of MOS Belgium don’t fade when the weekend ends, you can discover every mural, its story, the history behind and its place in Antwerp’s urban fabric through the free Street Art Cities app. Discover it and use the app’s social features: like it, mark it as ‘seen’ or write a comment.

Meeting of Styles Belgium has grown from a small local gathering into one of Europe’s most respected graffiti festivals. What began as a handful of writers painting together in Antwerp evolved, year after year, into a cornerstone of the international MoS network. Crews from across Belgium helped shape its identity: raw, community‑driven, and fiercely dedicated to letter culture. Over time, the event became a bridge between generations, old‑school writers returning to the wall, newcomers earning their stripes, and international guests adding new energy to the city’s industrial edges. Today, MoS Belgium stands as a living archive of styles, friendships, and collaborations that have defined the country’s graffiti scene for more than a decade.

Every edition of Meeting of Styles brings together a wild mix of personalities, styles, and philosophies, writers who shaped the early days of graffiti, muralists who push the boundaries of contemporary urban art, and creators who carry entire worlds inside their sketchbooks.
This year’s lineup is no different. From Luxembourg to Chile, from Sydney to Bucharest, from Barcelona to France, each artist arrives with a story worth telling.

Here’s your first look at the artists painting Antwerp this year, told in their own words, shaped by their journeys, and ready to explode onto the walls. Gradually I’ll add new names who answered the Q&A

Alain Welter (MOPE) — 🇱🇺

Luxembourg’s own Alain Welter, better known as Mope, has built a career on transforming spaces, sometimes entire villages, into living, breathing art environments. His breakthrough project Make Koler Kooler turned his hometown into an open‑air museum, and since then he’s painted across Europe, South America, India, and beyond.

His work blends illustration, storytelling, and hybrid human‑animal characters, often with a subtle political or environmental undertone. Animals appear in nearly all his murals, sometimes playful, sometimes symbolic, always layered.

No stranger in Belgium but the first time for MoS, Alain wants to “deliver a real banger,” connect with new people, and push the collective energy of the wall. Expect color, character, and a second layer of meaning waiting beneath the surface.

Apset - 🇬🇷

Hailing from Thessaloniki, Apset has been active in graffiti and urban art since 1998, long enough to witness the culture shift, expand, and reinvent itself, and long enough to carve out his own place within it. What began on the streets gradually evolved into murals, exhibitions, public art commissions, and collaborations that stretch far beyond Greece. His trajectory is a testament to how a teenage impulse can grow into a lifelong artistic practice.

He discovered graffiti young, driven not by aesthetics at first but by a need to express himself. The visual language came later; the urge to communicate was there from the beginning. Public space became the natural arena for that expression—raw, immediate, and open to anyone passing by.

Apset believes that neither painting nor graffiti can truly be taught. They’re lived, felt, and developed through experience. Still, his path includes both the “university of the streets” and formal education: a degree in Graphic Design and an Integrated Master from the School of Fine Arts at Aristotle University of Thessaloniki. The academic side gave him technical grounding and theoretical depth; the streets gave him identity, instinct, and purpose. His work sits precisely at that intersection.

Stylistically, Apset blends graffiti lettering, graphic design elements, and realistic portraiture into a unified visual language. Over the years he has refined this mix, keeping his graffiti roots visible while expanding into more complex compositions. His pieces feel both structured and emotional—designed with intention, yet grounded in the spontaneity of street culture.

Darkelixironer - 🇫🇷

Darkelixironer comes from Normandy, in north‑western France, where he splits his time between tattooing, filmmaking, illustration, painting, and running his own creative spaces: FREEBIRDZARTSTUDIO in Caen and the art label LES AGITÉ(e)S. He describes himself as a chameleon‑artist, someone who refuses boredom and moves freely across mediums, ballpoint pens, spray cans, digital tools, cameras, whatever keeps the ideas flowing.

His entry into graffiti didn’t follow the classic street‑discovery path. Growing up in the late ’80s and ’90s, he didn’t stumble upon graffiti in the streets but inside an MJC, a local youth and culture center. At 16, in 1998, he saw people using spray cans for the first time. He was already drawing constantly, dinosaurs, manga, DBZ, Spawn, The Darkness, and graffiti immediately hooked him through its color palette, its physical challenge, and the thrill of creating fine lines, thick lines, gradients, and large‑scale murals. He never went through a vandal phase; his initiation came through curiosity, not rebellion.

Darkelixironer is self‑taught, raised on school notebooks and ballpoint pens. He drew on anything he could find. Later, he studied graphic design, learning composition and early digital tools, back when tablets didn’t exist and computer graphics felt cold and soulless. After four years of design school, he entered a film school focused on VFX and 3D. That period shaped him profoundly: he lived in the Paris region, the Mecca of French graffiti, absorbing culture, painting constantly, and barely sleeping. “Real graffiti is a sport,” he says, remembering those years as pure immersion.

His style today is instantly recognizable: aggressive energy, dramatic lighting, and a graphic universe somewhere between comic‑book sketching, dark cartoons, animation, and cinema. He’s a workaholic with too many ideas, but over time he’s learned to channel that intensity. As he puts it, age brings discipline—at least a little.

Themes in his work revolve around pure graffiti, not soft or decorative street art. He jokes that he leaves “housewife street art” to others. He’s here to drop aggressive b‑boys, not birds or kittens. His influences come from hip hop, comics, animation, cinema, and the rawness of French graffiti culture. He’s painting at Meeting of Styles with his friend Signo, a pure wildstyle writer, which means the character he’s bringing will match that energy.

He also sends love to Belgium, its hip hop culture, its warmth, and the friends who’ve welcomed him over the years. Big up to Mata, Ebo, Cazn, and the crews Délit 2 Fuite and IKS.

For Meeting of Styles, expect aggression, attitude, and a character that hits hard—a piece rooted in real graffiti spirit.

El Joel — 🇪🇸

Born in northern Spain and now based in Barcelona, El Joel embodies the raw energy of classic graffiti. He started young, vandal missions with friends, late‑night sketching, and the spark that came from the video game Getting Up.

His style? Neoclassical graffiti: New York and Northern Europe influences, modern textures, bold letters paired with characters that give each piece personality. Painting, for him, is like rapping or dancing, an expression of swagger and rhythm.

For MoS, he’s here to celebrate the culture, enjoy the festival, and leave a piece of himself in Antwerp’s streets.

Hemsy - 🇫🇷

Hemsy has been active in graffiti since 2004, though the name he’s known for today only arrived in 2015. Before that, he cycled through different aliases, stepped away from painting for a few years, and eventually returned with a five‑letter blaze that felt balanced, musical, and rooted in the rap culture that shaped him. The “MC” spirit is still in there, just transformed. He represents OTZ, FHA, and VEC, carrying a distinctly French lineage into everything he paints.

His entry into graffiti began with rap magazines, especially Radikal, which featured a graffiti section that fascinated him long before he imagined doing it himself. The real turning point came in high school, when he explored an abandoned factory near campus. Inside, he found walls covered in colors, letters, and characters, pieces that, in hindsight, were rough, but to a teenager felt absolutely groundbreaking. That space became his first laboratory. He sketched, painted, returned again and again, and caught the graffiti fever for good.

To this day, he prefers abandoned buildings and raw walls over smooth Hall of Fame surfaces. He loves the atmosphere, the textures, the corners, the forgotten spaces. While he appreciates public HOFs, he’d rather paint a wall nobody sees than one with too much foot traffic. For him, graffiti is about the act, the place, the moment—not the audience.

Hemsy is self‑taught, with no formal artistic education. His influences come from old design, typography, mascots, and music, especially the flow and rhythm of rap. He keeps stacks of blackbooks filled with sketches, fragments, and ideas. Unlike some writers who meticulously plan every detail, he prefers a rough idea and lets the wall, the space, and the available colors guide the final result.

He describes his style as classic, graphic semi‑wildstyle—impactful 2D letters, bold shapes, and compositions that evolve constantly. He gets bored easily, so he reinvents himself often, experimenting with new directions while keeping the unmistakable “Hemsy touch.” After Covid, he even explored more abstract approaches, but he always returns to letters. Each stylistic shift becomes a timestamp in his graffiti journey.

His work isn’t political or message‑driven. Graffiti is his way to decompress, spend time with friends, and put good colors and good letters on a wall. Recently, he’s been focusing on overall compositions that pair his letters with characters—often mascots tweaked to match his style.

For Meeting of Styles Belgium, he’s working with a wall format he’s not used to, which pushed him to think ahead. He and his crewmate TONER2 have planned a shared visual element that will appear across both their walls—though he won’t spoil the surprise.

What he can promise is simple: it’s going to be fun.

La KUS - 🇧🇪

Kus—artistically known as La Kus—comes from Ghent, where his world of monochrome, surreal creatures has steadily taken form. He began with drawing, working in ink and pencil, until friends pushed him toward spray paint. That first dozen cans opened a new dimension: suddenly his creatures could stretch, distort, and breathe across walls instead of sketchbooks. The more he painted, the more he felt his style locking into place.

Public space remains central to his practice. He’s drawn to the scale, the outdoor challenges, the impact on the environment, and especially the temporality of walls. The fact that a piece can disappear tomorrow only makes painting it today more meaningful.

His background in landscape architecture quietly shapes his visual language. It sharpened his eye for nature, textures, materials, and the subtle logic of organic forms. Over time, everything he learned, artistically and personally, merged into a style he now recognizes as distinctly his own.

La Kus works with minimal palettes, often just black and white, creating what he describes as surrealistic blackwork. His compositions and techniques have evolved, but the core remains: simplicity, clarity, and creatures that feel both familiar and unsettling. He always believes he can push further, but that sense of striving is part of the process.

His creatures are reshaped versions of animals, symbols of adaptability, powerlessness, and sometimes a touch of tristesse or darkness, depending on his mood. They’re quiet, strange, and emotionally charged in subtle ways.

As for Meeting of Styles?

He’s keeping it open: no plan yet.

He’ll see what emerges when he hits the wall—letting instinct, mood, and the moment decide.

Lost.Optics — 🇷🇴

From Bucharest comes Lost.Optics, an artist whose name perfectly mirrors his practice: observing, dissecting, and reimagining the visual languages of our time. Starting with graffiti in 2000, he later explored abandoned industrial spaces—“Lost Places”—before moving into public murals and studio work.

His style sits at the intersection of abstract, post‑graffiti, minimalism, and op‑art, though he prefers not to label it at all. His pieces are meditative, precise, and deeply rooted in the environments he explores.

For MoS, he doesn’t promise a theme, only that every LOST piece is special.

Matis - 🇺🇾

Matias, known in the scene as Matis, and today writing mostly for his crews KNCR and Opponents—grew up in a small town in southeast Uruguay. Now based in Spain, he carries with him a visual language shaped by skateboarding, South American graffiti lineage, and the wildstyle energy of the writers who came before him.

His entry into graffiti came through skate culture. As a kid, he was obsessed with skateboard graphics, cartoons, magazine illustrations, and the graffiti scattered across skateparks. That world pulled him in completely. He began painting blank decks and griptapes, first for himself, then for friends, then for anyone who wanted a custom board. Every bit of money he earned went straight into markers and spray cans. The transition from boards to walls happened naturally.

Everything changed when he met AS1, a foundational figure in Uruguayan graffiti and one of the early members of KNCR, a crew born in the 90s alongside writers like Poshy, Ronik, and SAN. Painting with AS1, even when he was still “terrible,” as he puts it, opened the door to a new level of graffiti. Through him, Matis met writers like JNCHY, WERO, COSMO, and eventually joined KNCR himself as part of the “new blood.” That mentorship shaped everything that came after.

Skateboarding led him to drawing, which led him to graffiti, which eventually led him to pursue a career in graphic design and illustration. He wanted to understand both the digital and physical sides of image‑making. Today he runs his own creative studio with a partner, working across design, illustration, animation, and big walls. His graffiti and design practices constantly feed each other, creating a hybrid style that feels both raw and intentional.

His artistic evolution began with character bombing, inspired by writers who used characters instead of tags. That clicked immediately. He created his own character and bombed it everywhere he traveled. From there he moved into classic letter pieces, heavily influenced by his wildstyle‑obsessed friends, and eventually into full character pieces or hybrids of both worlds. Illegal graffiti remains a huge part of his daily life—something that only intensified after moving to Europe.

Today, his work is packed with cartoons, graffiti characters, letters, hip‑hop references, trains, and narrative scenes. He loves building compositions where multiple characters interact, almost like old oil paintings where every corner tells a story. Humor is central, stoned, stupid characters cracking up next to a piece, chaotic scenes full of energy and personality.

His walls are busy: colors, comic grids, stars, smoke, letters, movement. But that’s because he paints the way he thinks—rough sketches, then letting the wall guide the rest. The piece reveals itself as he goes.

For Meeting of Styles, expect color, characters, chaos, and fun—a living snapshot of everything that shaped him, from skateparks in Uruguay to the streets of Europe.

Meru - 🇩🇪

Meru, representing 196 Crew, comes from the town of Lahr in southern Germany—a place far from the big‑city graffiti capitals, yet close enough to spark a lifelong obsession. His introduction to graffiti was almost accidental: a visit to a friend’s house at age sixteen, where two guys were spray‑painting wooden boards. It wasn’t “graffiti” in any purist sense, but it was enough to flip a switch. His friends eventually stopped; he never did.
Twenty‑four years later, the fascination hasn’t faded.

What hooked him then still drives him now: the feeling of creating something from nothing. A blank wall becomes a layered composition, and even when he imagines the final result, the outcome still manages to surprise him. That tension between intention and discovery is what keeps him painting.

Professionally, Meru works as a graphic designer, and he sees the two disciplines—design and graffiti—as perfect counterparts. Color theory, shapes, lines, visual hierarchy, digital tools: everything he uses in his day job feeds back into his graffiti, and vice versa. Each practice sharpens the other, shaping a creative approach that is both intuitive and technically grounded.

He began with classic semi‑wildstyle and wildstyle, but over time he felt the format tightening around him. It seemed like everything had been done before. That sense of limitation pushed him to experiment—playing with proportions, contrasts, and visual hierarchy. One letter might dominate the entire piece; another might shrink into fragility. Outlines appear, disappear, or multiply.
These experiments gradually transformed his work into something more abstract, dynamic, and energetic, shifting the focus from letters alone to the movement and rhythm within the composition. An unexpected bonus: he paints much faster now, for reasons he still can’t quite explain.

Meru doesn’t work with fixed themes or messages. His pieces sometimes include illustrated or semi‑realistic elements—a fire extinguisher, a blue tomato, the silhouette of a dog—chosen more by instinct than intention. He avoids repeating himself; the best outcome is when the final piece surprises even him.

For Meeting of Styles, though, he’s keeping things grounded. No extreme experiments, no pressure to reinvent. He wants to enjoy the event, the people, and the atmosphere, letting the wall be part of the experience rather than the entire focus.

Nense / Tango — 🇨🇱

From Santiago de Chile to Europe, Martín Andrés Gómez Mercado—known through his alter egos Nense and Tango, brings a dual artistic identity shaped by 18 years of painting. His journey began with stolen spray cans, abandoned construction sites, and the mysterious fox throw‑ups that first inspired him.

His style is neodruidist, autopoietic, melancholic, and post‑apocalyptic, blending sharp edges, rough brushstrokes, and a distinctive pink palette. Cute animals and vibrant colors mask darker, more somber themes, “an electric sheep in wolf’s disguise.”

At MoS, it will be Tango taking the lead, bringing illustration‑driven energy to his first-ever visit to Belgium.

Nol - 🇳🇱

Michael Nolta, better known as Nol or Nolart, has turned refusing to grow up into a full‑time profession. Based in the Netherlands, he spends an “unreasonable amount of time” drawing big, bubbly, balloon‑like characters and convincing walls, canvases, and whatever object sits still long enough to wear them. What began as doodling slowly evolved into a visual universe of its own, one that now spills confidently into public space.

His entry into graffiti was classic: seeing pieces in the street and thinking, “Wait, you’re allowed to do that?” The scale, the colors, the surprise of art appearing where no one expects it, public space became his favorite gallery. And unlike clients, walls never complain about overtime.

Mostly self‑taught, Nol sharpened his eye through years of graphic design and screenprinting. Those disciplines left a clear mark: bold colors, clean lines, strong compositions, and a love for working within constraints. The rest came from experimenting, messing up, and trying again until the work looked like he planned it that way all along.

His style today is playful, graphic, character‑driven, somewhere between a cartoon, a daydream, and a happy accident. It has grown cleaner and more confident over the years, but the mission remains the same: to make people stop, smile, and wonder what strange creature they’ve just encountered.

Themes of curiosity, humor, imagination, and controlled chaos run through everything he makes. Influences come from street culture, cartoons, toys, graphic design, and especially stickers, which he loves with near‑religious devotion.

For Meeting of Styles, Nol promises bold colors, energetic characters, and enough visual caffeine to wake up your eyeballs. If people walk away smiling and slightly confused, he considers it a success.

RESET’81 - 🇧🇪

Reset’81 grew up surrounded by graffiti long before he ever picked up a can. On the way to school, in his own neighborhood, and especially while traveling for football games, the city became his first gallery. The moment that sealed it: seeing Laurel (Dekor) and Hardy (Zeom) dominating the Ring 0. Their highway productions weren’t just pieces, they were landmarks. “They made me do it,” he says, and you can feel that spark still driving him today.

A self‑taught writer, shaped more by the streets than by any formal background, Reset’81 has always been drawn to letters—just letters. Over the years he tried countless styles, pushed himself into new directions, and chased the feeling of making something different every time. His work is deeply rooted in Brussels graffiti, but he constantly recomposes it, breaking it apart and stitching it back together into something fresh.
Decomposing and recomposing, that’s the engine of his style.

He doesn’t approach every wall with a message, but he knows the power graffiti holds. For him, it’s often subtle, hidden, tucked into the details rather than shouted from the surface. At Meeting of Styles, he’s coming with one clear intention:
to have fun and play with letters, the way Brussels taught him.

REVES - 🇬🇧

Raised in Brussels and shaped in London, Reves One moves between two cities but carries one unmistakable visual language: Neon Noir. His work blends the moody grit of classic Film Noir with the punch of new‑school color—surreal characters, bold lettering, graphic patterns, and vibrant stripes that cut through the darkness. Even as his compositions evolve, he never leaves graffiti behind. “I shall never not do letters,” he says, and every piece proves it.

His journey started early. At age 11, sitting in a Brussels classroom, he found himself next to the younger brother of a local gang member. The older kids handled the trouble; the younger ones handled the tags. That’s how Reves slipped into the world of writing, first tagging, then piecing, then falling deep into graffiti culture through endless hours watching Stompdown Killaz on YouTube. By his late teens, portraits and animals entered the mix, expanding his visual vocabulary.

A rejection from a London illustration agency unexpectedly pushed his style forward. Seeking feedback, he asked a friend, Spanish, blunt, and honest. Her advice: use more colors. So he did. And those colors became the backbone of his identity.

Though he never studied drawing or painting formally, his background in videography, cinematography, and motion design shaped his sense of composition, rhythm, and visual storytelling. Before going full‑time as a muralist at 27, he spent years making music videos and films, skills that now echo in the cinematic tension of his murals.

His style evolved from black‑and‑white portraits into surreal, collage‑like compositions, cut, merged, split, and reassembled. The signature color stripes that run through his characters represent multiple facets of identity, or scars peeling away from the past. They’re visual metaphors, but also unmistakable trademarks.

Themes of individuality, motion, urban life, and reimagined classics run through his work. He has a long list of ideas waiting for the right moment, commercial work keeps him busy, but he hopes to carve out more time for studio exploration soon.

Sawer - 🇧🇪

Sawer grew up in a small village just outside Antwerp, but the city quickly became the center of his artistic life. He started drawing as a kid, and by 2005 he had fallen deep into graffiti, obsessively sketching letters long before he ever touched a wall. After two years of drawing, he began painting here and there, slowly meeting writers in Antwerp. Moving to the city around 2009–2010 was a turning point, suddenly the world of graffiti expanded, and with every wall came new connections, new influences, and a growing sense of belonging.

Antwerp is also where he became part of Aerosol Kids, the crew that would eventually help bring Meeting of Styles Belgium to life. RiseOne knew the location, had dreamed of painting it for years, and finally managed to reach the right person for permission. The idea was his, but the execution was a crew effort from day one. Being part of Aerosol Kids naturally pulled Sawer into the organizing side of MOS, shaping the event into what it is today.

Sawer started art school at 18, already several years into graffiti. His school work, installations made from plastic bags and discarded materials, was completely separate from his graffiti practice. What he does in graffiti comes from sketching, painting, traveling, and learning from other writers, not from academic training. If anything, his art‑school experience influenced MOS in a different way: it shaped his eye for which artists he and the crew wanted to invite.

He describes his style as new‑school graffiti, a blend of classic old‑school elements from 80s New York mixed with the European styles he encountered at home and on the road. His work is built on geometric forms, straight lines, bold outlines, and strong letter structure, always balancing spray‑paint effects with flat graphic elements. Over time, his pieces have become more graphical, more intentional, and more refined, but the heart of it remains the same: letters first.

For Sawer, graffiti is freedom. He doesn’t chase big messages or heavy symbolism. He just wants to paint his letters as well as he possibly can, pushing himself to make each piece better than the last.

If you’re curious, come take a look—they’re going big.

Senpai - 🇳🇱

Nick—better known as Senpai since 2021—comes from the Dutch town of Dordrecht, but his artistic footprint stretches far beyond it. Like many writers of his generation, he entered graffiti through hip‑hop, skateboarding, and the wider street culture that shaped the early 2000s. Armed with a few terrible cans borrowed from his dad’s shed, he started painting his neighborhood, then his city, then everywhere else he traveled. What began in 2004 as tagging and bombing slowly grew into a broader practice that now spans legal walls, commissions, and character‑driven pieces.

For Senpai, the draw of public space was always the anonymous dialogue it created. People reacted to the work, not the person behind it. That separation mattered. It allowed him to express himself without being judged as an individual, only by the quality of the spots he hit and the pieces he left behind. Today, the motivation has shifted: he simply wants to leave places more interesting than he found them.

Mostly self‑taught, he briefly pursued artistic education but found that it didn’t fuel his creativity the way the streets and his peers did. His style has evolved constantly, but its backbone remains clear: old‑school graffiti lettering, manga/anime influences, Asian aesthetics, and hard, confident lines. For the first decade it was all tags and letterpieces; only in the last five or six years did he begin integrating characters, giving his work a new dimension.

Senpai is a visual thinker first. He cares about how things look, how they hit the eye, how they sit on a wall. Messages and themes appear, but they’re not the priority. What matters is the scene, the composition, the energy.

Shogun One — 🇩🇪

A true veteran of the scene, Shogun One has been active since 1991. Based in Düsseldorf, he merges graffiti with architecture, typography, and science‑fiction aesthetics. His signature styles, Machine Style and Spaceship Style, are built on three‑dimensional structures, abstract forms, and conceptual clarity.

He started like many: tagging with friends, painting his first shaky letter “S,” and falling in love with the idea of leaving a mark on the city. Today, his work spans continents, publications, and decades of evolution.

At MoS, expect precision, structure, and a visual language that feels engineered rather than painted.

SIDOK - 🇺🇦

Milan—better known as Sidok—represents a long list of crews (SMO, UPC, CBS, CameloT Crew, Royal Cru, Efomural), a testament to how deeply he’s woven into the international graffiti community. Originally from Mukachevo in western Ukraine and now based in London for the past decade, he carries a hybrid identity shaped by movement, collaboration, and constant reinvention.

His first encounter with graffiti came in the early 2000s, when pieces began appearing in the park near his home. He had seen graffiti in magazines and music videos, but seeing it in real life, bright, bold, confident, was something else entirely. Soon his neighbors wanted to paint, and he joined them. Years of sketching followed, and by 2007 he was painting with intention, understanding, and a growing sense of purpose.
What drew him in wasn’t illegality, it was the atmosphere, the act of creating something that didn’t exist in public space the day before.

Graffiti eventually led him to design, and design led him to formal education. After meeting art‑school students at his first graffiti festival, he decided to study interior design at university. His academic background, combined with work in advertising and architecture, expanded his technical vocabulary, but he’s clear about one thing: graffiti taught him more than any classroom ever could. Composition, color, communication, socialization—those lessons came from the streets.

Describing his style is difficult because it’s always shifting. Over the years he’s moved through old‑school pieces, new‑school letters, textured forms, abstraction, characters, and everything in between. What remains constant are the signatures that crystallize his identity:
bright colors, dynamic intersecting lines, a mix of dirt and purity, and a collage of textures.
He calls it an alchemy, an evolving recipe shaped by experience, instinct, and visual influence.

As he transitioned into mural work, he began translating his graffiti and design background into larger, more conceptual pieces. Themes of interaction, inner growth, transformation, and controlled aggression appear throughout his work. The idea of the alchemy of the human spirit, working on oneself to become something new—has guided his conceptual practice for years.

Since the full‑scale Russian invasion of Ukraine, some of his pieces have reflected the trauma and resilience of that moment. But festivals often avoid overt political statements, so he adapts, finding other ways to express himself.

For Meeting of Styles, Sidok wants to relax, reconnect with the festival, and keep things light. Expect a piece that’s clean, bright, and uncluttered, leaving him more time for what matters just as much as the wall:
the people, the conversations, the balance.

SIROM - 🇩🇪

Lukas, known artistically as Sirom, is based in Leipzig, where his practice moves fluidly between graffiti, graphic abstraction, and oil painting. His roots lie in letters—he first became interested in them around 2014,and from there he slowly found his way into graffiti. By 2018–2019 he was painting actively, shaped in no small part by Leipzig’s strong, inspiring graffiti culture.

He studied Art Education, which helped him develop a clearer understanding of art and his own position within it. But most of what he does today was learned outside the classroom. His practice is largely self‑taught, built through experimentation, repetition, and a growing curiosity for form.

Sirom’s work sits at the intersection of graphic abstraction and figuration. Over time he moved away from traditional style writing and developed a more typographic, graphic approach. Through this evolution, an asymmetrical star emerged as a recurring motif, an anchor in his shifting visual language. He often works with monochromatic palettes and subtle tonal variations, exploring the tension between naturalistic figures and abstract graphic forms.

He isn’t interested in delivering a fixed message. Instead, he focuses on mood, presence, and open narratives. Human figures, reduction, and the dialogue between graphic and figurative elements appear again and again in his work.

For Meeting of Styles, Sirom plans to stay within his established visual language but approach the wall with more freedom and spontaneity. This year’s project will be a collaboration with FranzWerk, Wery, Chr15, and Abyz, a group of close friends whose styles differ but whose mural will be connected through shared visual elements and a common rhythm.

He’s genuinely excited to see how it all comes together.

SOKARIS - 🇧🇪

Sokaris is a Brussels‑based artist whose work blends emotional depth, surreal atmospheres, and a strong sense of human presence. Her path into graffiti began about ten years ago, not with a spray can in hand, but by observing others. She spent time with people who regularly went out on missions, quietly absorbing the codes, the energy, and the physicality of painting in public space.

What fascinated her wasn’t only the visual language of graffiti, but the full‑body experience of painting large surfaces outdoors. Later, through a relationship with someone who painted frequently, she found herself accompanying more sessions. Four years ago, she finally stepped into the practice herself.

Her beginnings weren’t simple. Graffiti can be a closed, sometimes hostile environment, especially for women entering the scene. She often felt like an outsider. But alongside the difficult moments, she also met supportive, generous people who helped her find her footing. Today, painting occupies a central place in her life.

Sokaris is self‑taught, with a background in psychosocial and educational fields. That background naturally shapes her work: she gravitates toward emotionally charged scenes, social realities, and human vulnerability. Her paintings often carry a quiet psychological tension, reflecting her sensitivity to people and their inner worlds.

Stylistically, she moves between figurative art and surrealism. She began with lettering but quickly shifted toward portraiture, seeking realism, texture, and emotional nuance. Early on, she painted well‑known faces; now she prefers to portray people from her own circle—friends, family, or bodies that hold personal meaning. One constant remains: a very limited color palette, where richness comes from subtle variations rather than a wide range of tones.

Her influences are broad: nature, travel, urban exploration, video games, surrealist masters, and the textures she photographs during hikes or wanderings. She often incorporates distortion and glitch effects, adding a strange, dreamlike, or slightly unsettling dimension to her pieces. Human diversity is central to her practice, as are the social or political messages she sometimes weaves into her work.

Recently, reading has become a major source of inspiration. She’s fascinated by how stories unfold differently in each reader’s imagination, and that imaginative freedom is shaping her current direction.

For Meeting of Styles, expect a piece influenced by these inner landscapes—textured, intimate, and quietly powerful, shaped by the stories she’s been absorbing and the worlds she’s been building.

TASKE MIA — 🇦🇺

Growing up in Australia in the 1980s, Dave, better known as Taske MIA, witnessed graffiti and breakdancing hit the country with full force. Those early flashes of culture, books, tags, pieces, the raw electricity of a new movement, never left him. What began as curiosity slowly became a lifelong practice, shaped by the streets of Sydney and the creative chaos of the 1990s.

Sydney’s graffiti scene left a permanent mark on him. The level of piecing he saw as a young writer set a standard he still carries today. Skate culture, rave culture, hip hop—they all fed into the visual language he would eventually develop. His style is built on shapes, letterforms constructed through shapes, color learned through experience, and the compulsive repetition of a recipe refined over decades.

At the core of his work lies a deep respect for the roots:

New York subway graffiti and the progressive fonts that evolved in the post‑subway era. Those foundations, mixed with the influences of his youth in Sydney, form the backbone of his education. Over the years he has met many great writers—many still active, many still influencing him.

Taske doesn’t paint for the spotlight. He admits he doesn’t particularly enjoy painting in public, but he values that graffiti exists there, that it claims space, that it represents something bigger than the artist. For him, the message is simple and unwavering:

Style is the message.

Teazer — 🇦🇺

From Bondi Beach to Byron Bay to Antwerp, Teazer brings over three decades of graffiti culture with him. He started bombing at age 12, drawn to tags, throw‑ups, and the thrill of exploring the city at night. His early influences came from Sydney’s iconic crews and the skateboarding and street culture surrounding him.

His style is graphic, colorful, animation‑inspired, with nods to gig posters and skateboard art. He loves building scenes with backgrounds and characters,especially girl heads and obscure pop culture references.

For MoS, he’s ready to reconnect with Antwerp (10 years after his first visit) and paint a production full of energy and nostalgia.

TONER - 🇫🇷

Toner2 is a French graffiti writer living in Brussels, where she balances two artistic worlds: music and letters. Originally from Limoges, she moved to Belgium nearly twenty years ago to study, and never left. Brussels became her adoptive home, a place whose spirit, humor, and openness fit her perfectly. She paints for the love of writing, for the joy of letters, and simply for fun. She represents OTZ, a crew mainly based in Paris.

Her journey into graffiti began in high school, drawing letters without fully understanding the culture behind them. Everything changed the day she found a graffiti magazine at a nearby press shop. That discovery opened the door to hip hop, graffiti, and the wider universe surrounding them. She began painting regularly after moving to Paris, where she met her crewmates and started developing her style.

Toner2 has no formal artistic education in drawing or painting, but her background as a musician shaped her approach. Music taught her discipline, hard work, and the value of repetition—qualities she now applies to graffiti. She sketches constantly, refining her letters and pushing her style forward.

She describes her work as wildstyle with a large dose of loops. Over the years, her letters have grown more complex, more intertwined, more rhythmic—almost musical in their movement. Her pieces carry a sense of flow that mirrors her artistic life.

For Meeting of Styles, she’s stepping slightly outside her comfort zone. The wall format is different from what she’s used to, so she plans to take advantage of that change. Her piece will likely include a character, something she doesn’t usually paint, but she’s embracing the challenge with humor and curiosity.

Umido — 🇮🇹

Federico Giretti, known as Umido, is a 22‑year‑old street artist and illustrator from the province of Brescia. His path into urban art began the way many great ones do: through graffiti, comics, and the irresistible pull of characters coming alive on walls. As a kid he copied cartoons and underground comics; as a teenager he wandered Brescia noticing tags and puppets scattered across the city. Those marks hit him hard. Soon he was trying to bring his own drawings from paper to concrete.

Money was tight at 16, so he started with brushes and paint, hitting abandoned spots and hidden corners of the city. Even without spray cans, he made a name for himself. Over time, as he gained access to better tools, his work evolved, becoming sharper, bolder, and unmistakably his.

Umido attended an art high school, which gave him a solid foundation in anatomy and drawing. But the academic world had little interest in graffiti or comic‑style illustration. His real education came from the streets, from trial and error, and from the artists he admired. His style grew outside the classroom, shaped by personal exploration rather than academic expectations.

Today, his visual language is built from graphic outlines, underground comic energy, and a long list of influences:
Lupo Alberto, the Italian comic master Gipi, the poetic street artist Nemo’s, and the sharp, expressive lines of Cone The Weird. Each reference added a brick to the structure of his style, helping him refine the forms, humor, and attitude that define his work.

He doesn’t follow strict themes. His illustrations often feature graffiti‑related elements, painted trains, hooded figures, police cars—but mostly he draws what he loves: characters, stories, and shapes that come from his own imagination. Right now he’s deep into writing and illustrating a comic, focusing heavily on character design and storytelling.

For Meeting of Styles, Umido is tempted to reinterpret “The Pied Piper” in his own visual universe. But he knows himself well enough to admit he might end up painting something completely different.
Whatever he creates, it will be bold, graphic, and unmistakably Umido.

Williann — 🇫🇷

French artist Williann has spent over a decade painting murals around the world, building a style instantly recognizable through its blue palettes, pin‑up influences, rubber‑hose animation, and strong female characters. Her work blends vintage aesthetics with contemporary feminist themes.

Her characters often carry scars—sometimes literal, sometimes symbolic—repaired with bandages or Kintsugi, representing resilience and vulnerability. She hides small details for viewers to discover, creating murals that reward curiosity.

For MoS, she plans to weave elements of Antwerp’s culture into her piece, bringing her signature style into dialogue with the city.

Keeping the legacy alive

When the spray settles and the festival fades into memory, the walls remain, and so does the responsibility to preserve them. Every artwork created during Meeting of Styles Belgium will be uploaded to Street Art Cities, where I’m slowly building a complete archive of past editions. Piece by piece, year by year, the history of MoS Belgium is being reconstructed so none of these moments, artists, or stories ever disappear. The walls may weather, but the legacy won’t.

Over 70 visionary artists from across the globe converged on Antwerp’s Zomerfabriek this year, ready to transform more than 4000 square meters of concrete, brick, and industrial relics into a living arena of color. Meeting of Styles Belgium 2025 unfolded as an electrifying weekend of live painting, shared culture, and community exchange, all guided by the theme “The Chosen Cause.”. Powered by a small local team behind Spray & Play.

Lobster Robin is a painter, illustrator, and soon‑to‑be comic book creator whose roots trace back to Antwerp, even if life has since pulled him in many directions. He first picked up paint and spray cans in 2018, and in just a few years carved out a style that is unmistakably his: dynamic, psychedelic, colourful, and deeply illustrative. His work is fueled by the titans of comics, animation, film, and painting, and by a desire to leave a piece of himself, and his lived experience, behind in the world.

A last‑minute return to MOS

This year’s Meeting of Styles wasn’t supposed to happen for him. He had already said he couldn’t make it, life, timing, logistics. But then, last minute, the door cracked open. Suddenly he was on a train back to Antwerp, reminded once again that MOS is one of those places where he always feels welcome.

Years ago, he first visited MOS as a shy spectator with big artistic ambitions. He wandered between walls, hoping that one day he might be the one painting there. That hope turned into a hesitant first participation, then into friendships with painters from around the world, and eventually into a sense of belonging. Now he returns as someone who feels at home among the artists he once admired from a distance.

And this year’s wall reflects that. No heavy concept, no overthinking. Just a pure Lobster Robin piece:

He loves pushing how far he can stretch a character’s posture, and this wall became a playground for exactly that.

A collaboration written in the stars

But MoS had another surprise waiting.

Robin had time for an extra piece and started painting at the entrance of the Zomerfabriek (a familiar spot). Meanwhile, someone he had only known through Instagram, Ypsilon, happened to pass by to pick up extra cans. They had already exchanged admiration online: Ypsilon and his Italian friends calling Robin a major inspiration, while Robin was equally impressed by Ypsilon’s drawing skills.

The moment felt too perfect to ignore.

A simple question, tossed into the air.

Despite already juggling two other collabs, because Ypsilon paints at the speed of light, he lit up immediately. Within minutes he sketched a wild hand next to Robin’s character, returning later to finish it. Their shared taste in art made the connection instant. Two artists who speak the same visual language, finally meeting in real life.

That wall became their first official collaboration.
The next day they sealed the bond with a spontaneous jam session in Park Spoor Noord. And both hope to meet again later this year, because some artistic partnerships don’t need planning; they just click.

And as always, the walls of MOS Belgium don’t fade when the weekend ends, you can discover every mural, its story, the history behind and its place in Antwerp’s urban fabric through the free Street Art Cities app.

MoS Belgium returns in 2026, during the weekend of 26, 27 & 28th of june new sories will be writing, keep your eyes open on the Instagram feed for more info.

Over 70 visionary artists from across the globe converged on Antwerp’s Zomerfabriek this year, ready to transform more than 4000 square meters of concrete, brick, and industrial relics into a living arena of color. Meeting of Styles Belgium 2025 unfolded as an electrifying weekend of live painting, shared culture, and community exchange, all guided by the theme “The Chosen Cause.”. Powered by a small local team behind Spray & Play.

Among them stands Paconer, a writer, artist, art director, and creative force whose journey bridges continents, disciplines, and eras of graffiti evolution.

From Morocco to Northern Italy: a story written in motion

Born in Morocco and raised in a small town in northern Italy, Paconer’s artistic path began long before he touched a spray can. As a kid, he obsessively drew cars, sleek lines, dynamic curves, mechanical precision. Later, he became captivated by Arabic calligraphy, especially the pointed, fluid shapes that seem to move even when still.

These early influences became the foundation of a style that refuses to sit still. Since 2007, Paconer has been active on both the national and international scene, shaping a visual language where lettering, graphic design, and figurative elements collide and merge into something unmistakably his.

A style built on evolution

With a diploma in Graphic Design and a degree in New Technologies for Art, Paconer approaches graffiti with the curiosity of a researcher and the instinct of a writer. Over 15 years, he has painted across Europe, absorbing cultures, aesthetics, and techniques that continually reshape his work.

His artistic evolution is marked by bold shifts:

• Early years: pure lettering, sharpened by calligraphic influence

• Mid-career: integration of subjects and backgrounds to amplify the letters

• 2016 onward: merging video-making with graffiti, collaborating with brands like Wrung, Bikkembergs, Dolly Noire, and Revolt Clothing

• 2020: a leap into large-scale urban art in Rome and Bergamo, opening a new chapter of monumental storytelling

Today, his pieces feel like engineered chaos, precise yet explosive, structured yet fluid, always pushing toward a new frontier.

Art, industry, and cultural impact

Since 2019, Paconer has also served as Brand Manager for TAG COLORS, an international professional spray brand distributed worldwide. His dual role, artist and industry insider, allows him to bridge the cultural and commercial sides of graffiti, promoting artistic interventions across Italy and abroad.

It’s a rare position: someone who not only paints walls but also shapes the ecosystem that supports the artists who paint them.

First time in Antwerp, first impact at MOS Belgium

2025 marked Paconer’s first time in Antwerp, though not his first encounter with Belgium. And the experience left a mark:

His wall at Zomerfabriek was designed with intention, a composition that responds to the architecture of the space, offering viewers a glimpse into his world. The letters, the shapes, the rhythm of the piece all echo his lifelong fascination with motion and form.

It’s a work that doesn’t just sit on the wall; it interacts with it.

For Paconer, MOS Belgium wasn’t just another festival. It was a meeting point, a convergence of cultures, styles, and shared passion.

His presence added another layer to the mosaic of voices that define Meeting of Styles Belgium: diverse, evolving, and united by the chosen cause of expression.

Paconer at MOS Belgium 2025: A Wall That Moves

In a festival built on movement, of ideas, of styles, of people, Paconer’s work stands out as a reminder that graffiti is never static. It grows, adapts, absorbs, and reinvents.

Just like the artist himself.

And as always, the walls of MOS Belgium don’t fade when the weekend ends, you can discover every mural, its story, the history behind and its place in Antwerp’s urban fabric through the free Street Art Cities app.

MoS Belgium returns in 2026, during the weekend of 26, 27 & 28th of june new sories will be writing, keep your eyes open on the Instagram feed for more info.

Over 70 visionary artists from across the globe converged on Antwerp’s Zomerfabriek this year, ready to transform more than 4000 square meters of concrete, brick, and industrial relics into a living arena of color. Meeting of Styles Belgium 2025 unfolded as an electrifying weekend of live painting, shared culture, and community exchange, all guided by the theme “The Chosen Cause.”. Powered by a small local team behind Spray & Play.

Among the international voices shaping this edition was Polograph, a French muralist now based in Montréal, whose figurative universe blends semi-realistic characters and animals in a distinctive, recurring color palette. His work carries a visual signature that feels both intimate and cinematic, a style honed over nearly two decades of evolution

From the petite ceinture to Montréal’s walls

Polograph’s journey began in 2006 along Paris’ Petite Ceinture, the abandoned railway line that became a playground for early experimentation. After exploring other creative fields, a move to Montréal reignited his passion for large-scale work. Five years later, he has become a recognizable presence in the Canadian mural scene, balancing technical precision with narrative depth.

A first encounter with Antwerp

MOS Belgium marked his first time in the city, and the impression was immediate.

That duality, heritage and reinvention , mirrors his own approach: rooted in figurative tradition yet always pushing toward new interpretations.

Interpreting “The Chosen Cause”

For his debut at Meeting of Styles, Polograph embraced the theme through a bold narrative lens: the Pact with the Devil. The concept allowed him to explore tension, temptation, and transformation, all while adapting to the scale and rhythm of the wall.

The result was a mural that fused adaptability with imagination, weaving symbolism into his signature palette and character-driven storytelling.

More than paint: a weekend of exchange

As with every edition of MOS, the walls were only part of the story.
For Polograph, the weekend became a crossroads of techniques, cultures, and creative energy.

This spirit of exchange, spontaneous, generous, and deeply human,is what gives MOS Belgium its enduring pulse. Long after the spray cans fall silent, the walls continue to speak: of encounters, risks taken, ideas shared, and communities built.

A new chapter on Antwerp’s walls

Polograph leaves Antwerp with a mural that threads his personal journey into the broader tapestry of MOS Belgium 2025. His contribution stands as one of many stories now embedded in the Zomerfabriek, a reminder that every artist who joins this festival adds a new layer to its evolving identity.

And as always, the walls of MOS Belgium don’t fade when the weekend ends, you can discover every mural, its story, the history behind and its place in Antwerp’s urban fabric through the free Street Art Cities app.

MoS Belgium returns in 2026, during the weekend of 26, 27 & 28th of june new sories will be writing, keep your eyes open on the Instagram feed for more info.