"Based heavily in a Derridean universe of words within words, Mez Breeze's poetics works in an almost antithetical manner. Whereas Derrida and James Joyce operate fundamentally on a linguistics of implosion (or compression; portmanteaus and puns), Breeze operates by explosion. It is easy to dismiss her work as a pastiche on “l33t sp33k” but there is far more happening here than such a superficial read would avail a careful critic. By breaking words down into their principle parts, Mez operates on a principle of addition as opposed to subtraction...So instead of a linear read, you have a poetics which trains the reader to confront it with a sense of simultaneity. That is to say, these poems are often easier to read if you process them holistically (in this sense, to take them as a whole) rather than moving from a beginning to an end as you would with a typical English sentence...

Other various strategies she employs is the extensive use of code operators such as + and &. Brackets, braces, and parenthesis provide further elaboration. In essence, where Derrida and Joyce employed reduction, Mez employs expansion, and the effect (in my opinion) is not only brilliant, but exclusive to Mezangelle."

-Rollie Bollocks in "Mezangelle: A Reading Strategy". 

"Mez Breeze, the internationally renowned Australian code-poet and net-artist and a former member of 7-11 and Net-Time, is also a close associate [of Furtherfield], amongst a web of some 26,000 contributors, including other international artists, theorists and activists..."

- S Biggs and P Travlou, "Distributed Authorship and Creative Communities" in Dichtung Digital - A Journal of Art and Culture In Digital Media,  7-6-2013.