Today, at 12 was the opening of my exhibition : Marques déposées. For the mod and sixties festival, Euro-Yéyé, I share space with a retrospective about Tamla Motown in Spain…
23 paintings (4 of 100 X 100 cm, 2 of 60 X 120 and 17 of 20x20) present the work of those last months: ripped serie I, I shawn you previously and ruffled that I develop for some time… Press and TV were present and so photographs: near the paintings, with the organizers, alone, and interviews: " How did you start to paint? " " Which techniques? " " How do you choose the topics? " …
Here, I give you an interview I did for the fantasic french blog Fury Magazine. A bit Old but still thinking just the same.
FM: Can you briefly told us what led you to painting and summarize your artistic course till today? I believe that I always drew and painted, but never really developing it, in various styles and technics. I then started to paint lead figurines - small soldiers - the most interesting to me was, hence, playing with colours in combinations and contrasts. One day, I decided to change my room and painted the walls white… A bit sad, then I did a painting, then two… Friends came to see what I did and liked it. Some asked me for one. They asked me to do an exhibition… All started there.
Currently I make Pop art in an aesthetic aim. I do not disagree with the conceptual side of creation but I think simply that the eye shouldn´t be neglected to favour only the idea. I work on the details, close-up and integrate various deformations. My inspirations were during a time comics or cars of the 60s and 70s but now on I'm more on into communication imagery of luxury or over produced products. As I play on contrasts and colors, I play with images considered to be opposed of the consumption society.
FM: Is there a place where you'd like to show your work? Why?
Frankly, no idea, maybe in Perpignan even (my birthplace), with a true institutional framework and with other artists because the city where I was born has a big artistic potential which remains neglected by the town council. However things seem to change.
note: the things actually changed since this interview and from now the local artists are recognized by the city
FM: A famous painting that you'd liked to have signed? Why?
There still, no idea… The piece of art that omes to my mind is a sculpture, Duchamp's fountain, coz showing in a museum an urinal renamed "fontaine", seems to me quite funny…
FM: Your work is a true remedy against the moroseness. However, as I know you, you can have some spleen times. Do you think painting is your discharge system?
I do not believe. In fact when I am in one of those phases, I quite do not paint. I develop the ideas, work on the projects , sum up documentation… I do not believe that my work is in connection with my states of mind.
FM: Which are, in the broad sense, your major influences?
Whaw… Too many, from the Clash to the Powepuff girls… In fact, my major influence, is my absorption capacity. I am a sponge for the futile things, then my supermarket, a pack of cigarettes on the street ground. Everything is likely of to interest me since I enjoy it aesthetically.
FM: Are other artists you feel near?
I feel perhaps nearer to graphic designers or the street painters that established artists, I like Shag and his Pop Lounge style, but generaly I'm more connected to someone with a clearly established speech and style than someone using one simple idea and visually complicate as an artsit wanabee.
FM: How do yo have the idea of a painting? You seem to work by “series” (a series of works obout the superheroes, a series on consumables, etc…). How do you know that it's time to pass to another thing?
The ideas come to me working. I gather what I collected here and there and I choose a topic I could decline in series… The topic must please me of course, but I tend to work on more impacting pictures and not necessary the ones I prefer. Working in series enables me to check the validity of the selected topic too. The topic has also to keep within the limits I impose myself: no nature, no real character, few colors but sharp…
FM: How do you see you evolving/moving in the future? I obviously do not speak about any intellectual or physical decrepitude, but about the evolution of your art…
I do not know and do not want to, it would not be funny.
FM: You're trying to keep a bit of mystery about yourself, as refusing the people to take pics of you. Why? Do you owe money to many people?
I don't think so (about the money)... The photographs steal your soul... (laughing). using a pseudonym and "hiding" myself is a way to promote my work. Once a paining is done, it exists no more than by itself and especially not in connection with who did it...
23 paintings (4 of 100 X 100 cm, 2 of 60 X 120 and 17 of 20x20) present the work of those last months: ripped serie I, I shawn you previously and ruffled that I develop for some time… Press and TV were present and so photographs: near the paintings, with the organizers, alone, and interviews: " How did you start to paint? " " Which techniques? " " How do you choose the topics? " …
Here, I give you an interview I did for the fantasic french blog Fury Magazine. A bit Old but still thinking just the same.
FM: Can you briefly told us what led you to painting and summarize your artistic course till today? I believe that I always drew and painted, but never really developing it, in various styles and technics. I then started to paint lead figurines - small soldiers - the most interesting to me was, hence, playing with colours in combinations and contrasts. One day, I decided to change my room and painted the walls white… A bit sad, then I did a painting, then two… Friends came to see what I did and liked it. Some asked me for one. They asked me to do an exhibition… All started there.
Currently I make Pop art in an aesthetic aim. I do not disagree with the conceptual side of creation but I think simply that the eye shouldn´t be neglected to favour only the idea. I work on the details, close-up and integrate various deformations. My inspirations were during a time comics or cars of the 60s and 70s but now on I'm more on into communication imagery of luxury or over produced products. As I play on contrasts and colors, I play with images considered to be opposed of the consumption society.
FM: Is there a place where you'd like to show your work? Why?
Frankly, no idea, maybe in Perpignan even (my birthplace), with a true institutional framework and with other artists because the city where I was born has a big artistic potential which remains neglected by the town council. However things seem to change.
note: the things actually changed since this interview and from now the local artists are recognized by the city
FM: A famous painting that you'd liked to have signed? Why?
There still, no idea… The piece of art that omes to my mind is a sculpture, Duchamp's fountain, coz showing in a museum an urinal renamed "fontaine", seems to me quite funny…
FM: Your work is a true remedy against the moroseness. However, as I know you, you can have some spleen times. Do you think painting is your discharge system?
I do not believe. In fact when I am in one of those phases, I quite do not paint. I develop the ideas, work on the projects , sum up documentation… I do not believe that my work is in connection with my states of mind.
FM: Which are, in the broad sense, your major influences?
Whaw… Too many, from the Clash to the Powepuff girls… In fact, my major influence, is my absorption capacity. I am a sponge for the futile things, then my supermarket, a pack of cigarettes on the street ground. Everything is likely of to interest me since I enjoy it aesthetically.
FM: Are other artists you feel near?
I feel perhaps nearer to graphic designers or the street painters that established artists, I like Shag and his Pop Lounge style, but generaly I'm more connected to someone with a clearly established speech and style than someone using one simple idea and visually complicate as an artsit wanabee.
FM: How do yo have the idea of a painting? You seem to work by “series” (a series of works obout the superheroes, a series on consumables, etc…). How do you know that it's time to pass to another thing?
The ideas come to me working. I gather what I collected here and there and I choose a topic I could decline in series… The topic must please me of course, but I tend to work on more impacting pictures and not necessary the ones I prefer. Working in series enables me to check the validity of the selected topic too. The topic has also to keep within the limits I impose myself: no nature, no real character, few colors but sharp…
FM: How do you see you evolving/moving in the future? I obviously do not speak about any intellectual or physical decrepitude, but about the evolution of your art…
I do not know and do not want to, it would not be funny.
FM: You're trying to keep a bit of mystery about yourself, as refusing the people to take pics of you. Why? Do you owe money to many people?
I don't think so (about the money)... The photographs steal your soul... (laughing). using a pseudonym and "hiding" myself is a way to promote my work. Once a paining is done, it exists no more than by itself and especially not in connection with who did it...
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