{"id":128,"date":"2020-09-01T23:19:00","date_gmt":"2020-09-01T23:19:00","guid":{"rendered":"https:\/\/qgdesartistes.fr\/?p=128"},"modified":"2026-06-29T17:18:21","modified_gmt":"2026-06-29T17:18:21","slug":"agrume","status":"publish","type":"post","link":"https:\/\/qgdesartistes.fr\/en\/agrume\/","title":{"rendered":"Citrus"},"content":{"rendered":"

IN SEARCH OF THE KEY TO DREAMS<\/strong><\/p>\n\n\n\n

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COURSE<\/strong><\/p>\n\n\n\n

How did you become an artist?<\/strong><\/p>\n\n\n\n

I started doodling in high school because my personality didn't quite fit in with the school system. I found an escape through ballpoint pen drawings in my notebooks, realizing I enjoyed it. I then went to study in Lyon, a city where I truly discovered urban art. There, I met people who introduced me to graffiti and collage, new and fascinating mediums that allowed me to breathe life into all those drawings I'd done on a table, giving them a new dimension that connected them more deeply to reality and urban life. My first collage dates back to 2014, in a style very different from my current work, more naive. Over time, my drawing has evolved, and so have my concerns.<\/p>\n\n\n\n

Was this transition to homelessness easy?<\/strong><\/p>\n\n\n\n

Everything flowed very smoothly because I was young and didn't question it. It was an exciting time, rich in encounters, learning, and discovery. It was also a way to reveal another side of the city, because knowing that putting up posters was illegal, I initially went out at night, plunging into another world: the nocturnal atmosphere and the drunken people of the Croix-Rousse slopes. It was exploring a new city and experiencing a unique atmosphere that you only see at those hours and that I'm not sure I'd find again today.<\/p>\n\n\n\n

I AM ANOTHER<\/strong><\/p>\n\n\n\n

How did the separation between you the artist and your character take place?<\/strong><\/p>\n\n\n\n

During my apprenticeship, I initially drew masked characters because I didn't know how to draw faces, but it was also a roundabout way of avoiding fully representing myself. Almost automatically, I would draw a character with features similar to my own, with black hair. This is common among many comic book artists who use their own physical appearance as a model, because it's what they know best, the easiest way to learn. When I started using photographs, I continued to draw myself, for lack of models. This was also consistent with my rather personal themes, stories composed of my own experiences and past.<\/p>\n\n\n\n

This motif of the mask has survived, because even though the object has disappeared, your character continues to camouflage part of his face, like a remnant of that era.<\/strong><\/p>\n\n\n\n

I'm increasingly comfortable with the representation of my face, but for a while I removed the mask to continue hiding behind my hands or other objects. However, I can't do this constantly, as I prefer changing motifs to being stuck in repetition. What interested me was being able to adopt different personas. Now, creating in the studio, while sometimes appearing confined and restricting movement, conversely allows for introspection and creative development. The imagination grows, carrying with it dreams and experiences. Through the stories we develop, we can go anywhere and be whoever we want. This is also why I paste up my work in the street, to avoid the isolation of the studio. During lockdown, some artists probably didn't notice any major difference in their daily lives.<\/p>\n\n\n\n

The dreamlike aspect of your work is often mentioned, which nevertheless reflects a desire to ward off fear, to fight against the monster. Your character seems to evolve within projections of his own dreams, universes that only exist because he is there.<\/strong><\/p>\n\n\n\n

I see my work as composed of two important facets: dreams and fear. I feel that these two dimensions are brought together and respond to each other. Dreams soften fear, which in turn allows me to create scenes that are closer to reality and everyday life. My character navigates these situations, juggling these two feelings, thus continuing his story. Everything revolves around him. Often, I try to create meaning from a visual vocabulary, composing with different elements and making them interact.<\/p>\n\n\n\n

In this respect, Icarus is an interesting extension of your character because he is a heroic figure who intertwines them.<\/strong><\/p>\n\n\n\n

For me, it represents beauty meeting its end. It's my vision of the world around us: I don't present a completely naive representation of nature in the sense that I don't depict a flower simply because it's aesthetically pleasing. It's certainly beautiful for what it is, but also and especially for the symbol of transience it carries, just as a bird taking flight and an act of predation are equally compelling despite their opposing natures. This duality is found in many of the elements I use: animals, plants, or flowers.<\/p>\n\n\n\n

VANISHING UNIVERSES<\/strong><\/p>\n\n\n\n

Since your series on cast shadows, you have been working particularly on backgrounds which are gradually adopting a particular aesthetic.<\/strong><\/p>\n\n\n\n

I am torn between a concern for meaning and a concern for aesthetics, because I want content and form to blend as seamlessly as possible. Working on the background allows me to truly envelop the character, to create a better setting. The wallpaper I often use is thus a representation of the external world. It's a simplification, because this type of wallpaper displays repeated organic patterns, an idea of cycles very present in the world around us, for example, through days or seasons. In this way, it provides the basis for a world in which I can place my character. But I want to try to replace it, so as not to find myself trapped within it.<\/p>\n\n\n\n

When you talk about schematizing the outside world, are you referring to a framework that is that of your character or that of the street?<\/strong><\/p>\n\n\n\n

It's a schematic representation of the external world, of an ecosystem in which we live and evolve. It's the universe of my character, which manifests itself in the street through wallpaper when the wall doesn't offer an interesting context. It then becomes a poster or a frame added to the city. At other times, the wall offers a more interesting character through its architecture and color; the frame then already exists, and it's simply a matter of incorporating it, as I recently did with my series of collages on transparent paper, allowing for a complete integration of the wall and its texture into the artwork.<\/p>\n\n\n\n

Your work evokes the idea of fleetingness, of things that cannot be retained.<\/strong><\/p>\n\n\n\n

These are emotions, beautiful things that can't be caged and that eventually disappear. A butterfly or a bird are extremely fragile living organisms evolving in a hostile environment. I'm really trying to explore this relationship between the character and the ecosystem in which they live (which isn't the OUR<\/em>, (but the one we walk in and in which we live). By drawing parallels, we realize that we are close to these animals. Thus, I am trying to rework an imaginary world that balances the relationship between humankind and its environment.<\/p>\n\n\n\n

Does the volatile nature of the act of sticking refer to that of these species?<\/strong><\/p>\n\n\n\n

Collage fits perfectly with these themes, because when you're pasting something up, the goal is to work as quickly as possible: in a few minutes the poster is up and I'm on my way again. It's a very fleeting moment, a stop along the way where you don't stage yourself, unlike mural painting, which is more about performance. Pasting is a more mundane act with fewer dramatic events. Furthermore, the paper is a particularly thin material: knowing that it's possible to create with this thin layer of wood resonates with these themes.<\/p>\n\n\n\n

COLLAGE, THE ART OF DISCRETION<\/strong><\/p>\n\n\n\n

Why did you choose collage?<\/strong><\/p>\n\n\n\n

This came about through a friend who was starting to use it and explained the technique to me before suggesting I join him. I continued down this path, and even though I later managed to do mural painting, collage remains for me the simplest and most accessible medium. Indeed, I'm quite slow in my execution, preferring reflection to spontaneity, and I like to take my time to draw and arrive at a result as close as possible to my initial idea. Collage is ideal for this, as it's an extension of the studio work that you bring into the street.<\/p>\n\n\n\n

Collage as a medium is an art of discretion.<\/strong><\/p>\n\n\n\n

Absolutely, collage is the most suitable technique for exploring these themes. From the beginning, I've enjoyed considering the most appropriate medium, whether it be canvas, paper, or the wall, thus leaving the door open to new tools like engraving or illustration. Collage conveys a certain discretion because it's an object that's affixed to the wall, leaving it exposed to its fragility, at the mercy of the elements and passersby.<\/p>\n\n\n\n

Does this discretion change the interactions you can have with passers-by?<\/strong><\/p>\n\n\n\n

I think this choice isn't neutral: I'm a very discreet person who instantly fades into the background within a group. My work reflects this idea, through an intervention that allows me to act from a distance, to be both visible and invisible. While putting myself forward, I still desire to remain hidden.<\/p>\n\n\n\n

The ephemeral nature of collage is therefore meaningful in your work.<\/strong><\/p>\n\n\n\n

Until now, it was important for the collage to disappear because, over time, the older pieces are less readily embraced than the more recent ones. Erasing them allows me to turn the page and move forward, to try new things and tell different stories. I really like this idea of evolution, because my work is intimately linked to my personality and my experiences, thus evolving with time, bearing witness to a specific moment. It's therefore interesting to look at the journey I've taken: temporality is important, just like the past. Conversely, I find it unfortunate to judge an artist's work based on current events, as some algorithms focused on the instantaneous have encouraged us to do in recent years.<\/p>\n\n\n\n

Do you specifically choose the location for the collage?<\/strong><\/p>\n\n\n\n

When I go to the city, I increasingly try to take photos of the places where I'd like to paste my work so I can create based on that. But the problem is that, since I don't live there, I don't experience it and sometimes miss how quickly the walls change. If the spot I've chosen isn't available, I'll have to put my piece somewhere else. So I can't say for sure that it's always chosen in advance.<\/p>\n\n\n\n

What are your thoughts on this location in relation to the photograph?<\/strong><\/p>\n\n\n\n

Personally, I can't think about placement based on the photo because I see it as a record and a testament to the collage's existence. I prefer to focus on the visual aspect rather than the image it will project. I'm an artist, not a communicator: I find it regrettable to see this infiltration of marketing into all artistic practices, especially street art, which was originally born precisely to break free from it. Designing a photograph for social media is a process that's closer to staging. But it all depends on how you view the photograph: if it's seen as the culmination of the work in the street, then it makes sense to have a genuine reflection on the image.<\/p>\n\n\n\n

Photography is sometimes the only trace of the work.<\/strong><\/p>\n\n\n\n

It's particularly interesting when it allows you to work outside of cities, in places where you wouldn't expect it but which offer different atmospheres, different settings to draw upon. Here, photography is crucial because it becomes the sole outcome of the creative process. I like this idea of rural art, or other similar environments like abandoned spaces.<\/p>\n\n\n\n

THE STREET AS A SPACE FOR CREATION<\/strong><\/p>\n\n\n\n

In what way is the street a unique space for creation?<\/strong><\/p>\n\n\n\n

It allowed me to become more grounded in reality, because as an artist it's easy to feel somewhat disconnected, often teetering on the edge of a chosen or imposed marginality. Our participation in society is often considered less tangible than that of, say, a baker. I find it interesting to reach out to people through visual mediation, to see what's happening, how others live, and how we can demonstrate the usefulness of art. It's good to have your feet on the ground from time to time. This also connects me to the ambivalence that accompanies my work: the interplay between dream and reality.<\/p>\n\n\n\n

What is your view on the proliferation of spots and this logic specific to Urban Art of grouping works side by side?<\/strong><\/p>\n\n\n\n

I won't place my work next to another's because a piece of art should be able to stand on its own. If two people glue their two pieces together, they form a collaborative work. A patchwork no longer carries the same message because each of its constituent elements has its own unique meaning. I don't feel they are useful to urban art, but that's beyond our control.<\/p>\n\n\n\n

Do you feel like you are part of an artistic movement?<\/strong><\/p>\n\n\n\n

I don't feel that we can truly answer that question yet. I benefit from the so-called "urban art" movement because it's thanks to it that I can exhibit my work and earn a living, whereas I would have more difficulty establishing myself within the contemporary art world. However, I believe it represents more of a medium than a movement, as it encompasses everything done in the street, regardless of the tools used. Yet, I think a movement focuses more on a substantive message and a formal structure than on the specific location where the works are displayed.<\/p>","protected":false},"excerpt":{"rendered":"

A LA RECHERCHE DE LA CL\u00c9 DES SONGES PARCOURS Comment es-tu devenu artiste ? J\u2019ai commenc\u00e9 \u00e0 griffonner au lyc\u00e9e car ma personnalit\u00e9 n\u2019\u00e9tait pas tr\u00e8s coh\u00e9rente avec le syst\u00e8me scolaire. J\u2019ai trouv\u00e9 une \u00e9chappatoire \u00e0 travers le dessin au stylo bille dans mes cahiers, me rendant compte que cela me plaisait. Je suis ensuite […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[29,8,32,7,33,31],"class_list":["post-128","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-atelier","tag-collage","tag-figuratif","tag-france","tag-in-situ","tag-poesie"],"_links":{"self":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/128","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/comments?post=128"}],"version-history":[{"count":2,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/128\/revisions"}],"predecessor-version":[{"id":310,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/128\/revisions\/310"}],"wp:attachment":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/media?parent=128"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/categories?post=128"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/tags?post=128"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}