SAX

SAX – WHEN COLOUR BRINGS ANIMALITY FROM CONCRETE

June 2019 – 1621 words

COURSE & TECHNIQUE

How did you become an artist?

As a child, I made animated films. Gradually, I moved on to painting sets and characters, then canvases. I then put painting aside for a while to work in film, making music and music videos. While creating storyboards and illustrations, I realized that this was what I enjoyed most, so I returned to it completely about two years ago. I tried to find and develop my style, and this year I'm starting to show and exhibit my work. I also studied graphic design when I arrived in Paris, which I found too focused on practical application, but some elements of it are now reflected in my work.

What is your preferred technique?

I use watercolor, acrylic, and spray paint (preferably water-based), because since moving to Paris I live in small spaces and it was more practical to work this way. I mainly paint with a palette knife and I'm thinking of taking up oil painting soon, which allows for more pronounced textured effects.

Do you adapt your style to each of your series?

I think there's a certain continuity in my work: I've always been particularly attached to the environment because I believe it's a truly contemporary theme. The style then adapts according to the periods: the street, for example, allowed me to move to larger formats, giving my creations greater scope, while also imbuing them with a story.

THE FAUNA & THE FLORA

Animals play an important role in your work.

I grew up in the countryside and I'm passionate about animals; I could spend hours observing them. My first watercolors depicted insects, and even before I created the series of Superorganisms I painted anthropomorphic creatures inspired by them and by plants.

Could you elaborate on your series depicting wild animals? Their graphic treatment makes them look very urban.

I try to bring out the animality of these animals in the street, which is not at all their natural habitat. To do this, I use graffiti, fluorescent colors, and sometimes a touch of anthropomorphism so that we can identify with them and recognize ourselves in them. Their forms are constructed partly through the graffiti, which creates the effect of calligrams by combining words with visuals, reinforcing the idea that they are often left abandoned, like old buildings.

I also sometimes include references to my friends or caricatures to add a touch of humor.

Finally, I always work on movement, a reflex perhaps stemming from my early animated films, seeking to bring as much life as possible to the drawing.

Color plays an important role in the series. Superorganisms, whose composition is reminiscent of Arcimboldo's assemblages.

This interest in color appeared primarily with the series Superorganisms and the multitude of coral hues. Through this series, which imagined humanity trapped beneath the waves, I tried to show the monstrous face of the human who had adapted. Today, flashy colors also serve to stand out on the street, which is why I'm gradually moving from bright to fluorescent shades. While I frequently use certain color harmonies as a base, there are always many colors in a single painting, giving the work more impact. There's "competition" on the street, and it was necessary to find a style that would allow me to stand out while conveying a message. But it also highlights these species that we tend to forget, drawing attention to them.

This series, however, stood out for its very dark aspect.

I don't find it that dark. We think it's dark because the background is black and represents the abyss, but if you take the corals out of the water, you realize they're full of color, full of life. Conversely, I find the animals darker than we think because of their wild nature: they roar in our faces, they're quite aggressive.

RELATIONSHIP TO THE STREET

What does the street represent as a space for creation?

I think the street allows you to expand the universe of the series you're working on. It allows you to create a cinematic atmosphere, the choice of location giving it a story. It's also a place that serves as an exhibition space, offering greater visibility. I started working there naturally, without it being the result of any real conviction. At first, I hid, trying to go out at night between midnight and 1 a.m., but I realized that street art is quite tolerated (at least in Paris).

Why did you choose collage?

This stems from the anxieties one might have about the street. I thought the fine would be less severe. Furthermore, the collage has an ephemeral quality that corresponds to the sensitivity of the message: what matters most to me is the story I tell and managing to stage it through photography, so the ephemeral aspect doesn't bother me. My collage is finished when I've photographed it, when I've captured the moment I wanted: it can then disappear. This staging brings even more life to the image; it's the culmination of what I've done.

What will determine the choice of location? The context or the visibility given to the work?

I think both of these dimensions come into play. For this series, the presence of wild animals in the street creates an interesting contrast. But visibility is also important: I always scout the location before pasting, so I can adapt my format, like with the sloth hanging from a pipe. I couldn't just put an elephant anywhere either!

What kind of relationship would you like there to be between your work and the passerby?

I like it when passersby take photos in front of my collages, creating an interaction with the animal; it brings a bit of life to the artwork. For example, I made a flying Dumbo that many people try to catch.

MUSIC AND PAINTING

You work on music and painting in parallel.

I've been making music since I was eighteen: it allows me to externalize things that are in my head and that I can't express any other way. Even before I started playing music, my first paintings depicted musicians, hence my nickname.

It was video that drew me to music; I wanted to make videos so I could direct music videos. It also led me to painting, moving from painted sets to live-action shots. After several short amateur films, I turned to music videos so I wouldn't have to worry about dialogue or directing actors anymore.

Do you wish to progress by working on these two disciplines simultaneously?

It's important to me, even if I might focus more on one area than another. Currently, I've chosen painting as my primary medium, but I still plan to work with video and music—I force myself to release at least one track a year for my birthday. In street art, my goal is to produce a new piece every week. So I try to combine everything with one goal in mind: to enjoy myself!

In your song No further details, Your refrain states: «"What's the point of getting old when you're no different when you're older? You go where life takes you, but you stay the same."»

The songs are very personal, but I try not to fundamentally change and to take life one day at a time. When there's something I enjoy, I do it; it's been that way since I was little. It's a way of being happy, or at least trying to be. I'm not afraid of getting old, and I think that as you go through life, you have to stay true to your convictions.

DISCOVERING URBAN ART

Do you feel like you're joining a pre-existing artistic movement?

I'm not much at the moment. I'm entering a field already occupied by others, so I wanted to stand out with my style and be visually striking to make a statement. Besides, I'm a big fan of many street artists; I've been following them on social media for a while now, and it's amazing to be able to meet them.

In my opinion, there's still a lot to be done in street art: it's a bit like the Cubist era. I don't have enough perspective yet; I've only been doing it for six months, starting from scratch. We'll see what happens in six months.

While many urban artists use the same motif, you seem to be constantly experimenting.

Each time, I try to bring something extra that I haven't done before, whether it's through the pose, the color, or the composition. I might repeat the same motif at some point, but for now, I'm more focused on pushing my experiments further by modifying small elements.

What projects would you like to lead?

In the short term, I'd like to create an exhibition focused on a single theme, establishing a completely immersive forest atmosphere. Without looking too far ahead, I want to develop this concept further, connecting new technologies with more traditional art. There's certainly a lot that can be done with it.

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