One Letter Burner / The R, 2025
Painting : aerosol paint, acrylic, Posca · 100 x 100 x 2 cm 39.4 x 39.4 x 0.8 inch · Ready to hang
$9,014
9 014 $US
Delivered in time for Christmas
One of the last works available by this artist
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Shipped from: Switzerland
Delivery to: United States , $ 173
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
aerosol paint , acrylic , Posca on canvas
Dimensions ( cm • inch )
100 x 100 x 2 cm 39.4 x 39.4 x 0.8 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • Switzerland
Credentials
Vetted seller since 2020
Discount
This seller offers discount when you purchase multiple artworks.
Description
Acrylic spray and marker / 100 × 100 cm / Satin varnish / Canvas
The work ONE LETTER BURNER / THE R is a concentrated formal demonstration, a test of virtuosity that the graffiti scene calls a "burner": a piece whose stylistic density, chromatic mastery, and technical complexity exceed any ordinary production. The originality of this canvas is to concentrate all this energy on a single letter — the R, initial of "Rey" — rather than on the entire word or name.
The artist expresses the project himself with an economy of words that says it all:
What Rey One describes is not a simple style exercise: it is the complete grammar of New York graffiti concentrated in a single alphabetic sign. Wild style is the most elaborate and difficult form of graffiti writing: the letters are an intrication of connections, decorative elements (arrows, barbs, slices, isms), three-dimensional extensions that intentionally blur legibility in favor of visual impact. Making a wild style burner on a single letter is therefore pushing this logic to its extreme: the available space is reduced, and the artist must nevertheless deploy all the formal syntax of graffiti.
Formal analysis
The composition relies on a structuring opposition between the dark and monochrome tonality of the background and the chromatic explosion of the letter. The R appears as an architecture: it is welded, articulated, self-protective through the "protective arrows" specific to the EDK/New York vocabulary. The "slices" — luminous incisions in the form — create an optical depth, while the voluminous 3D, treated in downward shadow gradients, anchors the letter in an illusionistic space.
The spray is used in all its specificity: the outline defined and precise with the marker, the color transitions with the spray play on the material effects specific to the aerosol. The satin varnish integrates the work into a pictorial register, distances the canvas from the simple photographic reproduction of a mural graffiti, and confers upon it the status of a studio piece.
Meaning in the artist's practice
For a writer of Rey One's generation, the transition from the street to the canvas is not a cosmopolitan conversion: it is a faithful translation of the same codes on a different support. ONE LETTER BURNER / THE R illustrates this logic. The work borrows nothing from traditional painting: it is entirely constructed in the semantics of graffiti writing — burner, wild style, isms, arrows, 3D, connections — and has no other reference horizon than the New York tradition transmitted, lived and practiced from within.
Choosing the R alone as the exclusive subject is also an act of autonomy: the sign refers to itself as much as to the identity of its author. In graffiti culture, the name — reduced to its initial — is always the primary unit, the territory primarily claimed. By dedicating an entire piece to it, Rey One reduces the work to its essence: the letter as sign, as identity, as technical performance.
Presentation
Rey enters the world of graffiti in 1989 in Geneva through hip hop culture. He begins with the wild tag in the street and then learn about the colorful fresco. In 1990, with the help of three other artists, he created the collective EDK (esprit du karton). From the beginning of the adventure, the EDK stood out with their calligraphic and foundational style, directly inspired by the New York and Parisian schools. In 1991, Rey flew to the USA to continue his studies in art school. This trip takes a decisive turning point in his career as a writer (graffiti artist). It was during this period that he met many American artists, some of whom joined the EDK collective. From 1991 to 1995, Rey lived in Seattle where he painted an average of 2 to 3 frescoes per week.
In 1997 he went back to live in New York until 2002. During these ten years in the USA, Rey experienced hip hop and graffiti writing in an intense way, rubbing shoulders with various legends and activists of American hip hop. Rey specializes in lettering. It's the typographic side of the New York graffiti school that motivates him. He has painted over a thousand frescoes worldwide and in any medium. After more than 24 years of non-stop “underground" graffiti in the street, Rey is now exhibiting in galleries, while preserving its authentic side of pure graffiti.
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