Son of the painter Georges Dezeuze (1905-2004), he freely attended classes at the Beaux-Arts de Montpellier, where he met Arnal, Bioulès, Grand, Rouan and Viallat. His stay in Mexico in 1964-65 profoundly marked his painting, nourished by pre-Hispanic cultures. In North America he then discovered the New York school, from Pollock to Rothko.
Settled in Paris in 1967, he developed with Saytour and Viallat the foundations of Supports/Surfaces, conducting a radical reflection on the future of painting. This questioning of the traditional structure of the picture led him to concentrate his work on the support itself. He then undertook a true "deconstruction" of the canvas, considered as an object, affirming the materialism of the works and the primacy of the creative process.
Dezeuze left the group in 1972 and pursued a personal research centred on the construction of the picture, the fragility of materials, the economy of means and continuous experimentation.
Twenty recent works join today the collections of the Musée d'Art moderne, an exceptional acquisition that makes it possible to trace his career since 1982. They bear witness to his taste for reuse (doors, panels, skis), assemblage, colour generating forms and the importance of the void. References to art history (Mondrian), the Middle Ages, Mesoamerican cultures or calligraphy run through and nourish his entire work of the last forty years.