In the silence of the world, everything exists because it can be expressed..

Christian Z (Chriz) was born in 1970 and, since childhood, has breathed the scent of ink, watching with curious eyes his father’s skilled work, fascinated by the magic of typography. His hands brushed against the wooden frames, the lead letters took shape under his fingers, while within him grew the awareness that the written word was much more than a simple mark: it is expression, it is identity, it is communicative power.

Chriz, however, felt the need to go beyond the traditional use of typographic letters: he wished to explore their boundaries, to transform them into images. Ten years ago, he began his artistic experimentation, which found full expression in his first collection, WORDS – Invisible Codes: a profound fusion of word and figuration, matter and imagination.

For Chriz, 2025 has opened as a period rich in appointments and prestigious international collaborations.
His exhibition journey began with his participation in World Art Dubai, a fair that brings together some of the most interesting voices in the global contemporary art scene.

Subsequently, his works were exhibited at the Nicoleta Gallery in Berlin, confirming the German art scene’s interest in his research.

The artist then became the protagonist of a double engagement: in London, at both Espacio Gallery and Arrival Gallery, and in Italy, during the Volterra Art Week, where the dialogue with the public was enriched with new insights and connections.

The exhibition path culminated in Paris, within the evocative setting of Parc André Citroën, one of the most fascinating spaces dedicated to international contemporary art.

MY RESEARCH
My research originates from a simple yet radical question: what would the world be without words?
The word is not just a tool: it is origin. It is what makes thought real.

From this question, my work unfolds: I explore language as the structure of identity, as a trace of memory, as a bridge between experience and thought.
My process is manual, physical, almost liturgical: I apply letters one by one onto metal panels, constructing surfaces dense with meaning and stratification.

Each letter is a living sign, a fragment that joins with others until it forms a visual body: what matters is not the single letter, but the harmony that emerges from their encounter — a subtle dance between space and sign, between chaos and hidden order.
I am often called “the man of letters”: my works redefine the value of language in contemporary art, freeing it from the play between signifier and signified, from graphic dynamism and pure aesthetic form, elevating it to an absolute generative principle.

Here lies the revelation: the letter is neither ornament nor simple instrument, but a figural genome. It is a primordial cell, a matrix that generates images just as in life.
In this absolute correspondence between meaning and figure, art becomes an original code: a vital alphabet that shapes bodies, identities, and visions.

And in becoming an original code, my research becomes a manifesto: a movement that recognizes the letter as the genetic substance of art, an invisible thread that binds humanity together.

Without words: nothingness. With words: infinity.