KASPROVIEZ

Maestria is pleased to announce Alexandre Kasproviez’s return to New York City with a major solo exhibition of over thirty new paintings. On view from June 5th to June 22nd, 2025. It will be his third personal exhibition in the United States, a significant milestone in his artistic journey.

“The Final Echo Isn't a Sound” stems from a universal fiction: Does life replay itself in flashes of imagery, in the final seconds before death?

The artist draws upon this collective belief to shape a deeply personal yet universally resonant body of work. He conjures an imagined moment: the final seconds in which the most striking scenes of life resurface. The exhibition does not depict death, but rather that charged, contemplative moment just before it — a final sequence featuring familiar faces, fleeting landscapes and other scenes imprinted in Kasproviez’s memory.

In this way, it becomes both a self-portrait and a mirror, inviting viewers to reflect on their own inner archives of experience and remembrance.

Born in 1995, Alexandre Kasproviez grew up on the French island of Réunion, in the Indian Ocean, in a richly multicultural environment.
This upbringing, rooted in multiple origins and marked by frequent movement, deeply infuses his work.

He took his first artistic steps under the guidance of American artist Ross Bleckner, who introduced him to oil painting — a medium that would become central to his practice.
Known for his large-scale landscapes and blurred portraits, Kasproviez’s immediately recognizable style blends a fluid palette with compositions in which forms seem to emerge and then vanish. Light plays a fundamental role in his compositions — veiled, diffuse, almost liquid — sliding across the canvas like an elusive reflection. 

Using a reductive technique, Kasproviez begins by applying thick, heavy layers of oil paint across the entire surface, then carefully wipes them away, moving from one small area to the next.

What remains is a delicate, almost translucent skin of pigment, full of movement, subtle gradients, and ghostlike forms that seem to exist beneath the paint rather than sit on top of it.This creative process introduces a distance between the viewer and the subject, suggesting both vulnerability and proximity, while preserving a certain protection of the represented figure.

Kasproviez does not seek to capture a frozen moment. Rather, he reveals its echoes — inviting the viewer to contemplate what escapes, what lingers, and what remains unsaid.