Mural by Miss Me

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 2012 · Neighborhood: Mile-End / Rosemont She paints women who refuse to be looked at—and who look back. Since 2012, this Swiss-born street artist—who spent time in France before settling in Montreal—has turned the streets into a space for radical feminist resistance, covering them with powerful female bodies, portraits of forgotten icons, and messages that ask no one for permission. "If you have something to say, you put it out on the street." A former art director at a major advertising agency, MissMe understands the mechanics of image-making—and the role images play in the objectification of women—better than anyone. Leaving that industry to make the street her studio was no mere whim; it was a coherent political act—a decision to turn the tools of representation against those who use them to control female bodies and desires. Her first series, *Dessert For Breakfast*, established the foundation of her approach from the start: female sexuality as a space for emancipation, not consumption. Since then, her series have multiplied: *Portrait of a Vandal* (masked self-portraits of a woman in a position of strength); *Music Saints* (monumental tributes to Nina Simone, Leonard Cohen, and Amy Winehouse); and *nobELLES* (portraits of female scientists erased from history, exhibited at Montreal’s Rio Tinto Alcan Planetarium between 2023 and 2024). Dubbed "Montreal's Premier Art Vandal" by *Vice* and named one of the "15 Women Who Are Killing It in Street Art" by *Complex* in 2014, MissMe has expanded her practice far beyond the alleyways of Mile-End and Rosemont. Her interventions span Europe, the United States, and Italy, forming a continuous tour of public expression. In 2023, she held a solo exhibition at the Taglialatella Gallery in New York. In 2017, Madonna acquired a piece from his *Portrait of a Vandal* series—a form of recognition that did not change his standing on the street one iota.

Miss Me, 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.