Since 2006, he has been painting large format infra-realism works representing forms, lines and signs from urban life. He gives his paintings a rough aspect and an abstract pictorial essence through the use of tools foreign to the lexicon of the painter; such as domestic brushes, or waxing gloves. His work resonates with American paintings. Particularly in the way he apprehends the space of the canvas - comparable to the work of Robert Rauschenberg. He develops a reflection on the substance of paint, gesture and space. When asked of his work Thierry Costesèque said: "I paint what separates me from the world. The space interrogates me in it’s disposition, what forces me to revolve, react physically. I memorize the space that looks at me. » This leads him to work with different object (fragments of paper, wrapping paper, push pins) creating assemblages and collages. His understanding of urban space is reflective of the dAdA style, but it incorporates expressionism. However, his expressionism questions the basics of painting. It’s in the perspective that he interferes with the city. We could think of the approach of Francis Alÿs when Thierry Costesèque repaints objects in the city, such as polls on the freeway. Anchored in his reflection on painting, his intervention has a different impact from those of Alÿs : they inverse the notion of space. If throughout art history the canvas represents space, then the inversions of Thierry Costeseque succeed in outgrowing this limited perception. Now, the canvas is the city. His effects allow the spectator to realize that he is in an imagination in constant evolution.