{"id":98,"date":"2019-01-01T22:48:00","date_gmt":"2019-01-01T22:48:00","guid":{"rendered":"https:\/\/qgdesartistes.fr\/?p=98"},"modified":"2026-06-17T22:48:45","modified_gmt":"2026-06-17T22:48:45","slug":"lebichon","status":"publish","type":"post","link":"https:\/\/qgdesartistes.fr\/en\/lebichon\/","title":{"rendered":"LEBICHON"},"content":{"rendered":"

LEBICHON \u2013 A DOUBLE OF CHALK FOR RUNNING ON WALLS<\/strong><\/p>\n\n\n\n

January 2019 \u2013 1449 words<\/p>\n\n\n\n

FIRST STEPS<\/strong><\/p>\n\n\n\n

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

Even though I studied art, my desire to draw came quite late. It was surely my arrival in Paris that sparked this urge to create and be artistically active in the city. Life's twists and turns also played their part, thanks to some wonderful encounters that have shaped my journey.<\/p>\n\n\n\n

When did you start working on the street?<\/strong><\/p>\n\n\n\n

The turning point came during the November 13, 2015 attacks. A resident of the 11th arrondissemente<\/sup> In the 16th arrondissement of Paris, I used to come home every night, passing through the Saint-Pierre Amelot passage next to the Bataclan. When I opened the window, I heard the explosions and gunshots. It was a real shock, me, who was so far removed from all of that. I never thought it could happen here. <\/p>\n\n\n\n

I was drawing a lot at that time, compulsively, to get my thoughts out and relax. I went and posted a drawing, a character very similar to the one I have today but with a free-form shape. Following these events, this shape gradually evolved into a heart, placing the human figure back at the center.<\/p>\n\n\n\n

CHALK AS A MATERIAL<\/strong><\/p>\n\n\n\n

Chalk has the advantage of being an ephemeral material, which can be erased quickly.<\/strong><\/p>\n\n\n\n

For me, there were two important aspects: firstly, the fact that chalk is erasable, thus preventing me from being arrested, but also the aesthetic dimension of the drawing as it fades, becoming almost a ghost. I initially started drawing directly on the ground: these creations sometimes lasted a day, more often a few hours, but could catch the attention of passersby. <\/p>\n\n\n\n

One day, on my way to visit a friend, I saw a piece of wood and hesitated to stop, having already done a lot of drawing on the way. However, I quickly turned back to sketch my character. An hour later, someone posted a photo on social media, explaining that the drawing had brought a smile back to their face. The reaction of this person, whom I met later, proves that all creations can have an impact, even when they seem useless. A small thing done at a particular moment can significantly influence another person's life.<\/p>\n\n\n\n

Why did you move from drawing on the floor to drawing on the wall?<\/strong><\/p>\n\n\n\n

It was the brown background of discarded items that led me to work on walls instead of floors. This background was interesting, and I started working on it with chalk, or Posca markers when the surface didn't provide good adhesion. Now I much prefer working on slightly worn surfaces, sometimes covered in moss. Chalk then leaves a mark, adhering particularly well, and the contrast between the line and the natural wear of the surface is all the more striking. <\/p>\n\n\n\n

In terms of the drawing technique, it's interesting to play with the 90 mm length of the piece, which gives a completely different effect depending on how you hold it. Reaching the end forces you to focus on the essentials, whether it's drawing a head or a secondary element. While I generally use chalk to tell a story, I often keep the scraps to give to children later.<\/p>\n\n\n\n

A SIMPLE AND UNIVERSAL CHARACTER<\/strong><\/p>\n\n\n\n

The compulsive aspect of your early work is reflected in the street through this immediacy.<\/strong><\/p>\n\n\n\n

The immediacy of the process doesn't preclude significant preliminary research to determine the position and proportions of my character, as well as the movements of the head, body, and arms. By altering the position of these elements, I have the impression of seeing, in turn, an elderly person, a teenager or a child, an object, or an animal.<\/p>\n\n\n\n

Working with mistakes, like a foot that takes a wrong turn, is also interesting. It's this work on composition and proportion that I'm trying to develop further today. The compulsive aspect allows me to refine my character gradually, taking pleasure in seeing it evolve.<\/p>\n\n\n\n

Moreover, the simplicity of your line \u2013 and its figurative aspect \u2013 gives your work a universal dimension. <\/strong><\/p>\n\n\n\n

It's an immediate and philanthropic art form that anyone can grasp, regardless of age, language, or judgment. It's through this act of sharing that I create my work, to convey a positive message accessible to all. This universal dimension also takes shape through the people who support me, who share my drawings through photography, or send me kind messages.<\/p>\n\n\n\n

Do you imagine continuing solely with this character? <\/strong><\/p>\n\n\n\n

I will follow the Bichon throughout its entire life. When I try to take a step back from what I'm doing, I can't bring myself to believe that I'm the one who drew it; I'm merely an observer. When I draw it, it's as if it's anchored within me. Its development now involves the clothing, the background treatment, the sense of proportions, the movement, and the staging, in order to bring even more variety to it. <\/p>\n\n\n\n

From a graphic standpoint, I'm going to explore how it can enter the space, whether with thicker lines, dots, strokes, or objects. Exploring these new avenues, I always wonder if, in developing it further, I'll be able to maintain the same emotional impact. Those who have known me for a long time believe that the Bichon has evolved without losing its essence. People can identify with it, discover scenes, or symbols\u2026<\/p>\n\n\n\n

By working so hard on a character, he eventually achieves a form of perfection.<\/strong><\/p>\n\n\n\n

J\u00e9r\u00f4me Rasto\u2014the first artist I ever met\u2014told me recently that my persona was complete because it could be adapted easily and everywhere. I don't know how I'll feel about what I'm doing now, at forty. Perhaps I'll have explored a particular avenue of research further, perhaps I'll have stayed where I was, perhaps I'll still be working solely on my graphic design using computers. I feel accompanied as if by a double, one I don't want to let go of, like a relationship that you carefully nurture, cherish, and shape to suit each of you.<\/p>\n\n\n\n

There are no wrong choices, no bad tests. Everything is food for thought in the development of an action, whether it's a thought, a word exchanged, an encounter, a point of view, or even silence. This resonates with my work as an interior designer, which trains my eye on the designers I admire, such as Janette Laverri\u00e8re, who worked on the same form forty times to achieve the perfect curve, as well as the details of the Italian architect Carlo Scarpa and the designer Line Vautrin.<\/p>\n\n\n\n

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

What does the street represent for you as a space? <\/strong><\/p>\n\n\n\n

Whereas previously the street was a substitute for a lack of sketchbooks, it has gradually become a place where I also work for people. As I walk, I now clearly see the places where I want to place my character, as if I were facing a blank sheet of paper. I then see the street as a universe full of new pages just waiting to be brought to life. And again, working with chalk allows others the opportunity to reclaim the space for themselves.<\/p>\n\n\n\n

How will you choose your frame? <\/strong><\/p>\n\n\n\n

Several reasons can influence this choice: the environment will first make me think about the photograph I could take and what it would tell. Other drawings are made for people in the neighborhood: I sometimes take the time to draw little scenes, or to recreate on the doors of businesses that have disappeared to give them a new lease on life.<\/p>\n\n\n\n

So, what is your relationship to photography in your work?<\/strong><\/p>\n\n\n\n

I must have nearly two hundred photos of parking meters on which I've written the word "love." I collect them without yet knowing what use they'll be, as if several branches were growing from a main one. This allows me to keep a record of my research, the image serving here as a support for memory.<\/p>\n\n\n\n

How do the meetings between chalk artists take place? Do they result from a series of successive collaborations?<\/strong><\/p>\n\n\n\n

In certain spots, I place an element, and then, upon returning a month later, realize that someone else has positioned themselves next to it. This initial drawing allows others to follow, in a kind of collaborative process without meeting. I wouldn't mind if another artist erased my character's arm to replace it with an element, appropriating it and adapting it to their own style.<\/p>","protected":false},"excerpt":{"rendered":"

LEBICHON – UN DOUBLE DE CRAIE POUR COURIR SUR LES MURS janvier 2019 – 1449 mots PREMIERS PAS Comment es-tu devenu artiste ? M\u00eame si j’ai r\u00e9alis\u00e9 des \u00e9tudes tourn\u00e9es vers l’Art, mon envie de dessiner est apparue assez tard. C’est s\u00fbrement mon arriv\u00e9e \u00e0 Paris qui a d\u00e9clench\u00e9 cette volont\u00e9 de cr\u00e9er et d’\u00eatre […]<\/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":[24],"class_list":["post-98","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-craie"],"_links":{"self":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/98","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=98"}],"version-history":[{"count":1,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/98\/revisions"}],"predecessor-version":[{"id":99,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/posts\/98\/revisions\/99"}],"wp:attachment":[{"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/media?parent=98"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/categories?post=98"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/qgdesartistes.fr\/en\/wp-json\/wp\/v2\/tags?post=98"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}