The idea of publishing the artistic work under the pseudonym BROZILLA , is developed by Gerrit Fischer , born in 1979 in Hamburg in 2008 and is based on the roots of the artist in the graffiti scene.
For the purposes of the classic graffiti -writing it was initially for the use of writing as an artistic element. Cherished letters were united into a meaningless name.

As a contrast to the “mainstream Graffiti” the name should not highlight the coolness, strength nor special quirkiness of the initiator, but even by his completely discordant sound strike (which the name in English and the modern Art Nouveau also written for the abbreviation “Broz” standing for “Brothers”, or “Bros”, it turned out later and so far it is irrelevant for the name of carrier).

From writing technical perspective, the letters does not even harmonize particularly together. Specifically in the preferred graffiti used capital letters. It was therefore necessary to take a challenge.

BROZILLA ‘s work stands for politically – motivated Urban style with a healthy dose of anger and criticism that stimulates the viewer, but it is primarily intended to relieve the artist. He uses a theme canon that ranges from the representation of direct personal experience up to public developments.

Brozilla sees himself as a worrier in a rapidly changing culture. His work deals with issues of current events “Seen through the subjective eyes of a silent observer …” as he says. He handles with social issues such as poverty, gentrification, war and flight, as well as technical progress.

Whether it is a legitimate criticism of an accelerated capitalist society, or the thoughts of a paranoid black naysayer, the viewers decide for themselves. No matter what result you get there, the work of Brozilla offers certainly a lot of discussion and stimulates further reflection.
With instruments – such as spray paint, stencils and paste -ups things turn into human faces and collateral damage to human fates, which create a contemporary art form in a style mix of underground culture and pop art. The principle of converse and the thereby reached perception of realities in a rapidly developing world is the basis of the Brozilla’s work.

Canvases offer him, despite of their significant reduction in the area compared to his previous graffiti works, a greater creative scope which in his diversity of techniques, colour types and the mediation of statements and intentions, beyond a mere slogan, the relevant people of existing conditions should be stimulated.

“While the main reason of graffiti for me is the fun, painting a wall together with friends, if possible in a large and beautiful format, the paining of a canvas is more a complex mixture of psychotherapy and rebellion. Anger and criticism, grief and shame, perhaps even love and laughter, but definitely always combined with a hint of psychedelic utopia. The picture has to be painted, either way – if it’s nice or not! ” ( BROZILLA 2012)

The canvases rarely arise by a clear idea of which target of group it has to be addressed to. While the BROZ graffiti are clearly painted in the scene for the scene, the canvas work is presented to audition quite late and after much hesitation, in 2012 as part of a small exhibition for the first time. Meanwhile, the work of BROZILLA can be seen on various exhibitions.