MATT_TIEU

MATT_TIEU – CHALK OSTRICHES RUNNING ON WALLS

July 2019 – 1506 words

COURSE

What motivated you to have a regular artistic practice?

I've always been around this scene, and I've always drawn. Wanting to represent what I saw, I first did graffiti in Nancy, but it was when I arrived in Paris four years ago that I really felt the need to do something. Two weeks later, the Bataclan attacks took place, and the heavy atmosphere that followed pushed me to share my world, to try to bring a little lightness to people, to make them smile while reaching out to them, because I always draw in broad daylight. It was a way to add my own little touch to get through that difficult time. Little by little, I discovered the work of chalk artists, and an addiction developed. It was also a way for me to discover the city, to wander the alleyways to find a spot, to get lost and ultimately find myself again.

Did this transition happen naturally?

Yes, because the medium I use is very light and speaks to everyone. Using chalk is less about degradation and more about dirtiness. As a result, people's reactions have always been quite positive, which means I've never really had to hide and I've been able to work quite naturally to beautify the space I wanted to make my own. I had a bit of an adrenaline rush at first, but less so now.

CHALK AS A MEDIUM

Why did you choose to work with chalk?

First, there's the practical side: it's easy to get hold of, easy to transport, and it fits in a small box. It can be erased and isn't so ephemeral, lasting quite a while. I wanted to explore something that hadn't been extensively done on walls, unlike other media such as collage or graffiti. The transition was therefore natural, from kitchen chalkboards to the street. It was also an opportunity to embark on a new approach, because the chalk pushed me to reach out to people and places I didn't know.

Chalk also has a spontaneous dimension.

Exactly, no special preparation is needed: it's possible to find an inspiring place and represent something there, without necessarily having done any prior studio work. Most of the time I work spontaneously, getting lost in a place and adapting to what I encounter. Sometimes I also come across places without knowing what to do with them: in that case, I take a photograph so I can think about it.

Chalk allows you to play with the color of the surface. How do you establish these contrasts, especially when you add colored incursions to your drawings?.

Researching the location is essential, as chalk requires a dark, not-too-rough background. If these rules aren't followed, your drawing won't be presented in the best light. Aside from this constraint, the street offers a multitude of spaces to incorporate. Regarding the use of color, it allows me to highlight certain elements, certain objects, while also giving my drawing more depth and making it warmer. Depending on the situation, I reserve the right to add more color, just as I would with charcoal.

Will you always use chalk?

I think it's important for me to continue using chalk because it's what allows me to differentiate myself, while also constantly developing my technique to stay abreast of current trends. Flyposting could also be a way to explore different mediums and use paint. I'm also experimenting with new techniques through murals, using acrylics and oil pastels, just like in my studio work. When a piece is intended to be permanent, I adapt my tools to make it more enduring.

TWO FIGURES: THE FACE AND THE OSTRICH

Your work initially revolved around two major figures: a face and an ostrich.

These are faces I've been drawing since childhood, inspired by Khmer art. My father loved it, and I used to draw them automatically. They have strong, serene features, in addition to being graphic. However, they lacked the ability to interact with the background, something I've been more successful at with ostriches. I chose this animal because I loved its endearing face, so I could place it in comical situations that reflect current events. Besides its ability to "play ostrich," it's also the largest bird in the world, which allows me to give it human-like poses. Since it speaks to both children and adults, it's easier to give it a double meaning.

Between those first ostriches and today, your style has evolved considerably. What research avenues interest you?

From a technical standpoint, I'm trying to get back to basics. Since I don't have formal art training, I think it's good to work on anatomy and shading. I'm the first to get bored with what I do, and I don't want to bore my followers. Furthermore, I try to be sensitive to current events, to convey a message that, while lighthearted, is a bit more politically engaged. This is particularly true of the skeletons, which evoke the extinction of species and allow me to work with contrasts to draw faster. We have such high visibility as street artists that it's up to us to seize upon the messages that are important to us in order to communicate. Today, I'm on my third "series" of chalk drawings, and I keep each of these worlds as a kind of toolkit, sometimes setting them aside for a while before picking them up again and reworking them. The important thing is to delve into the subject matter each time.

URBAN VIEW

What is the particularity of the street as a space for creation?

The street is free, it's a place for spontaneous encounters, but it also represents a greater risk because you're exposed to the gaze of others, whereas an exhibition attracts a generally receptive audience. While it's important to be easily identifiable, since a new artist emerges every day, more in-depth work is needed to generate greater interaction. In any case, I think the street itself does the work, discouraging those who aren't truly committed to it.

What is your relationship to the ephemeral nature of urban art? As you pointed out, chalk tends to fade quite slowly.

This doesn't bother me because, in my opinion, the very essence of urban art is its ephemeral nature. In fact, I almost prefer being able to control the lifespan of a creation, knowing that it will be immortalized by photography, even if its presence in the street will be quite brief. Moreover, chalk isn't so ephemeral: depending on the location and the exposure, a piece can remain for several months, even becoming embedded and scratched by contact with textures like porous stone or metal. I have some drawings that have existed for over a year, slightly altered but still there. The artwork continues to live, and even if it doesn't always age well, people can still travel to see it after it has been posted online.

What is your relationship with photography?

I'm archiving everything I do. It's not an artistic endeavor, as I'm not a photographer, but I use it to communicate and showcase my creations through photography, which will be shared on social media. In this way, the photograph travels more than the artwork itself. This approach is complementary and almost essential. However, while one might be tempted to consider the finished work as the one published online, the initial process shouldn't be forgotten; otherwise, the image ends up overshadowing the place itself.

Do you feel like you've joined a pre-existing artistic movement?

I pay attention to what came before, not just in street art but in all urban art. If we're here today, it's because graffiti artists and vandals opened doors, showing what was possible. I try to bring something new, while respecting the codes and work of these people. I think I'm part of a movement in its own right, even if I joined it late. It's never been easier to draw in the street, both thanks to the number of techniques available and the way passersby and public authorities no longer see these drawings as tags.

However, I believe that one shouldn't go out into the street to promote oneself, but to share, meet people, convey a message, and give another dimension to one's work without using it as the primary means of communication. We see more and more brands engaging in vandalism-style advertising, which, in my opinion, represents a dangerous trend.

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