{"id":390,"date":"2021-06-01T16:57:00","date_gmt":"2021-06-01T16:57:00","guid":{"rendered":"https:\/\/qgdesartistes.fr\/?p=390"},"modified":"2026-06-30T16:59:05","modified_gmt":"2026-06-30T16:59:05","slug":"stoul","status":"publish","type":"post","link":"https:\/\/qgdesartistes.fr\/en\/stoul\/","title":{"rendered":"Stoul"},"content":{"rendered":"

TRANSFORMING WALLS INTO STAINED GLASS WINDOWS<\/strong><\/p>\n\n\n\n

\n\n\n\n

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

How did you become an artist? When did you start out busking?<\/strong><\/p>\n\n\n\n

From a very young age, I said I wanted to become a painter. I loved tinkering and painting, and at the age of thirteen, I started doing graffiti before pursuing art studies at the \u00c9cole Boulle. I then launched my professional career, while continuing to work in the field and in abandoned spaces around the age of twenty. Around this time, an interest in urban art emerged from institutions and the general public, leading to the first festivals and commissions\u2026<\/p>\n\n\n\n

ABSTRACTION VERSUS FIGURATION<\/strong><\/p>\n\n\n\n

Your work has been built up in successive phases: we can see that abstraction has gradually supplanted figuration.<\/strong><\/p>\n\n\n\n

This transition began around 2013 when I started to geometrize my figures. Today I work in a semi-abstract style: behind the initial abstraction, there is always a figurative foundation. The figures are no longer present, they no longer constitute my focus. But there is always a symbol that brings us back to reality, which I use as the basis of my drawing before (de)constructing it so that ultimately the eye gets lost and we begin to see something else through the forms.<\/p>\n\n\n\n

Is this geometric composition planned in advance or is it constructed randomly?<\/strong><\/p>\n\n\n\n

Sometimes there is no preparation, and the work unfolds spontaneously, guided by the medium and the available space; at other times, there is genuine reflection on the composition and themes to be explored, for which I conduct extensive iconographic research, considering both meaning and technique. For some time now, each piece has always had a specific end goal, and I have less and less time to develop my own ideas.<\/p>\n\n\n\n

These geometric figures originate from origami patterns.<\/strong><\/p>\n\n\n\n

These motifs were inspired by my discovery of origami boards. I was intrigued by the flat lines indicating the folds of a plane, reminiscent of the technical drawings used at the \u00c9cole Boulle for creating objects. But they also evoked the architectural lines of the new concrete landscapes and constructions I encountered while working in the urban environment. As I moved towards a more geometric style, this greatly inspired me, but now it has become an automatic process that no longer guides my daily creative work.<\/p>\n\n\n\n

You have gradually developed your thinking on gender; through your work, you are exploring the different ways of questioning this concept, and you are moving towards greater inclusion.<\/strong><\/p>\n\n\n\n

I started questioning gender a few years ago when I was still painting figures. It was quite irritating to hear that only a woman could have painted these female figures. The funny thing is, with my colorful geometry and my tag Stoul, you no longer know who you're dealing with. It speaks to everyone, regardless of gender or culture. One of my battles is to ensure that the artist's gender is no longer a criterion, that it eventually disappears so that we can achieve equality in the dissemination of artistic work. We need to stop programming exhibitions exclusively of women artists: it's nice, but it's essentially a double-edged sword of positive discrimination.<\/p>\n\n\n\n

REFLECTIONS ON COLOR<\/strong><\/p>\n\n\n\n

Do you think about color and composition simultaneously or successively?<\/strong><\/p>\n\n\n\n

It will depend on each project. For some, a dominant color will be my starting point before coordinating the others. Sometimes a color complements a symbol well. I've been very interested in color theory. My technique is therefore unique because I follow the direction of the color wheel, creating contrasts through opposing hues. I've been using a palette of fifteen colors, including gray, black, and white, for some time now.<\/p>\n\n\n\n

The question of the color wheel raises the issue of the vibration of colors in relation to each other.<\/strong><\/p>\n\n\n\n

Following the order of the color wheel immediately creates a harmonious and joyful atmosphere. The colors of the rainbow universally evoke this joy. I therefore try to ensure that something positive emanates from my work, even when addressing a potentially difficult message.<\/p>\n\n\n\n

Colour has a symbolic dimension. Is their choice determined by the room?<\/strong><\/p>\n\n\n\n

I'm interested in chromotherapy and the influence of colors in our daily lives. Each color can have different effects depending on individual sensitivities. Depending on the medium and the theme, I might choose a brighter color to evoke nature, the sky, or the sea. This often contrasts sharply with the surrounding landscape, as there isn't much color in the streets.<\/p>\n\n\n\n

The mention of color and black outlines immediately evokes stained glass. But there's also a very strong luminosity that emanates from your work.<\/strong><\/p>\n\n\n\n

I never intended for my work to resemble stained glass, but it might evoke that style through the use of very bright colors, which are then accentuated by the prominent black circle. I've developed my palette over the years to avoid a dark effect. I always work on a white sheet of paper, applying black first, followed by the color. There's also a very calming aspect to looking at a stained-glass window. Perhaps this has been subconsciously ingrained in me since my school days, when I was in a metal workshop and the glass workshop was right next door.<\/p>\n\n\n\n

PAINTING IN THE CITY<\/strong><\/p>\n\n\n\n

Could you elaborate on the acronym? <\/strong>ORU<\/em><\/strong> (Urban renewal operation) that you use to describe your works and which refers to the inscription of your motifs in the city?<\/strong><\/p>\n\n\n\n

ORU<\/em> This geometric series comes from the Japanese word for "to fold." It's also found at the root of the word "origami." Urban policy in France is called origami, which perfectly aligns with my approach of creating works for public spaces. My goal is for my lines to integrate seamlessly and be as enduring as possible, while remaining in harmony with their surroundings. I hope that this will inspire other projects related to my mural. It's a holistic approach: considering both what has been done and what could be done.<\/p>\n\n\n\n

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

It's a space that's visible to everyone, that sometimes imposes itself. We offer our art to those who want it, and to those who don't. To all those who don't walk through the doors of museums, who don't have the opportunity to open themselves up to culture. That's what's so great about it. Working in the street is also about encounters: with a territory, its inhabitants, those who will experience it every day. Every project involves very important exchanges.<\/p>\n\n\n\n

What is your perspective on the different relationships to time that exist in your work?<\/strong><\/p>\n\n\n\n

I went through a collage phase with kraft paper, which I quickly abandoned because it's a very ephemeral technique whose only advantage is that it can be easily removed if the result is problematic. But ultimately, the ephemeral aspect doesn't appeal to me at all; I want my work to be as permanent as possible. I've never considered being a painter as anything other than a profession, and it's wonderful to have the opportunity to receive public commissions and to be supported so I can make a living from it. But since that's all I do now, I no longer work as a vandal, I no longer create public art...<\/p>\n\n\n\n

Commissioned muralism is not based on the same time scale as vandalistic art.<\/strong><\/p>\n\n\n\n

My spray paints are of very high quality, with museum-quality UV resistance. Furthermore, the walls are prepared before I begin painting to ensure maximum durability. For each mural commissioned as a permanent project, I catalog the colors so I know which ones to use when restoration is needed, whether during my lifetime or after I've outlived them. This is also a way of respecting everyone who invests their time and effort in creating these monumental works, as well as the residents who voted through participatory budgeting and don't want to see a wall deteriorate rapidly.<\/p>\n\n\n\n

Is urban art an artistic movement? How do you position yourself within it?  <\/strong><\/p>\n\n\n\n

I have no difficulty talking about street art, even though it's not always street art; it can be found in the countryside or by the sea. What's difficult to grasp is that it's an international movement, extremely diverse. The artists aren't all connected to each other, and the subjects and techniques are very varied. We could therefore talk about subcategories of urban art, such as, in my case, geometric art, abstraction, or muralism. These are categories we fit into, but they allow us to put a name to things. I have no problem saying that I'm an urban artist.<\/p>","protected":false},"excerpt":{"rendered":"

TRANSFORMER LES MURS EN VITRAUX PARCOURS Comment es-tu devenue artiste ? Quand as-tu commenc\u00e9 dans la rue ? Tr\u00e8s t\u00f4t j\u2019ai dit que je voulais devenir artiste peintre. J\u2019aimais beaucoup bricoler et peindre quant \u00e0 l\u2019\u00e2ge de treize j\u2019ai commenc\u00e9 \u00e0 faire du graffiti, avant de poursuivre des \u00e9tudes artistiques \u00e0 l\u2019\u00e9cole Boulle. Je me […]<\/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":[41,7,33,37],"class_list":["post-390","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-abstraction","tag-france","tag-in-situ","tag-muralisme"],"_links":{"self":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/390","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=390"}],"version-history":[{"count":1,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/390\/revisions"}],"predecessor-version":[{"id":391,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/390\/revisions\/391"}],"wp:attachment":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/media?parent=390"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/categories?post=390"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/tags?post=390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}