Street Artist Ghizlane Agzenaï Knows How to Use Color!

Published July 31st, 2021 - 08:45 GMT
Ghizlane Agzenaï: I am more of an urban and contemporary artist
Ghizlane Agzenaï (

Born in Tangier in 1988, Ghizlane Agzenaï is a visual and street artist famed for her colourful and monumental ‘totems.’ She lives and works in Casablanca but also travels the world to create her brightly coloured art. 

Her geometrically-shaped pieces draw new perspectives along abstract lines. She is a self-taught artist whose totems are inspired by an inquisitive and generous spirit and available as paintings, paper collages and puzzles. 

Agzenaï uses a unique assembly process for her totems. Spray-painted, laser-cut and carefully sanded, they are then shaped by a cabinetmaker. Her works include murals and paintings in numerous urban art festivals and exhibitions — in Berlin, Barcelona, Paris, Casablanca, Rabat, and beyond. 

In recent years, she has brightened up the Vigo Ciudad de Color wall in Spain, the US Barcelona street-art festival, the Mural Harbor in Linz, Austria, and the famed Oberkampf wall in Paris. During Rabat’s Jidar festival in 2019, one could admire her colorful geometric shapes on the walls of the Mohammed VI Museum of Modern and Contemporary Art.

Q: How would you define yourself as an artist?

A: I am more of an urban and contemporary artist. My passion for urban art has naturally dragged me to the streets. Then, gallery work came to gradually complete my urban interventions. Today, I wander between these two. Both are extremely enriching for me.

Tell us more about your passion for colors. 

Colors have always been at the core of my work. They invigorate my art. I never stick to one color in my totems. I also like to use a wide range of colors for each artwork to create harmony and give positive energy.

Why do you call your works ‘totems’ and how are they produced?

My artworks are all called “Totem …” because the word can be defined as an object that represents a kind spirit. For me, the word totem was in perfect harmony with my vision and what I wanted to express through my art. So I use it to reinforce my message. A totem can take form through hand-drawing or a paper collage. Then I transfer one or the other to my computer to be able to pick a color palette and play with shapes. As soon as I’m satisfied with the result, I choose the totem support: wood, canvas, wall or plexiglass. 

Do the titles of your works have any great meaning for you? 

The majority of my works have titles, but they don’t necessarily give any indication as to the nature of the artwork. At first, I would use numbers. Then I started using the names of stars and planets, because I’m particularly fond of science-fiction. And sometimes I just use the name of the city where the totem was created. 

Your work has attracted international attention and has recently been displayed both at the 193 Gallery in Paris and the galerie 38 in Casablanca. How did your collaboration with the 193 Gallery come about?

They contacted me in early 2021 and asked me to join “Colors of Abstraction 2,” a collective exhibition. Fouzia Marouf, the curator, invited me, and I immediately found the gallery’s vision extremely interesting. What we have in common is curiosity, but also openness to the world. After some discussion, I agreed to be part of the exhibition along with Ivorian sculptor and designer Jean Servais Somian and visual artist Valentina Canseco.

Which painters and which art forms have most inspired you?

I am deeply inspired by (minimalist, abstract US painter) Frank Stella and (op-art pioneer) Victor Vasarely for their unique aesthetics, and by (contemporary Argentine-Spanish artist) Felipe Pantone for his vision and energy. (Environmental art luminary) Christo is also a great source of inspiration with his monumental and poetic installations. Last but not least, I draw inspiration from futurism, the Bauhaus movement and brutalism.


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