Mural by Bosny

This work brings together a street-art vocabulary and a urban approach. Its value does not come from applying decoration to architecture: the mural gains meaning through its scale, its surface and the way it is encountered in a real place.

Active since 2009 (first mural); full-time since 2022. Neighborhood: Notre-Dame-de-Grâce. Bosny is a muralist from NDG, the neighborhood where he grew up and which he continues to mark with his work. His practice rests on a simple yet radical idea: the same piece can tell different stories depending on whether it’s encountered by car, by bike, or on foot. This sensitivity to perception, speed, and distance makes him deeply attentive to the context in which each creation is installed. He seeks to create works that transform according to the viewer’s relationship to them, allowing different distances and speeds to give each piece a distinct resonance. He painted his first graffiti at 14, in 2006, on the streets of NDG. His first large-scale mural came in 2009, created in collaboration with Dre, Five 8, For, Rage5, and Bruser—an ensemble work that marked his entry into the professional field. Refusing to limit himself to the street alone, Bosny deepened his understanding of images and surfaces by earning a diploma in printmaking, a discipline that taught him the relationship between gesture, substrate, and imprint. He then explored digital processes, examining how contemporary tools can enrich a practice rooted in physical mark-making. This hybrid approach—bridging traditional craft and digital precision—fuels a singular mural practice in which each work is conceived as a total perceptual experience. The idea that a single surface can reveal different details to someone who lingers and to someone who passes quickly lies at the core of his work: a meditation on attention, contemplation, and the speed of urban life. Since 2022, he has devoted himself full-time to his art, continuing to transform NDG’s facades into places of dialogue between image and movement, between the artist and his home neighborhood.

Bosny, whose practice is connected with Montreal, develops a visual world that can be followed from one wall to another. Captions and archives connected to this body of work document several mural interventions. These points of reference place the image within a practice rather than treating it as an isolated visual.