“I think that every artist must take risks. This artistic vocation aims to explore, both psychologically from the inside, and externally by the different mediums used.”
Your work as an urban art duo only began a few short years ago when you left your traditional art world behind. You took a risk when you met your muse, Sia, and changed the course of your artistic journey. What inspired you to make this change a reality?
I think intimately, that every artist must take risks. This artistic vocation aims to explore, both psychologically from the inside, and externally by the different mediums used. I had done extensive research into the use of more classical techniques. In my meeting with Sia, I was at a turning point in my life when I needed to bring the result of my inner psychological, philosophical, symbolic research that I had to the public. To do so, the return to spray can was faster and more practical in the execution of my works. It was a challenge that I had to take on.
Your work as collaborative duo is truly inspiring. Sia acted as your muse for some time but that artistic relationship has transformed. Was it Sia’s idea to pursue her creative side and begin to start painting along side you? Was this a challenging transition as a team?
The idea of working as a duo and for Sia to paint with me came naturally. There was a frustration for her to see me doing my work from a distance. So when I suggested that she accompany me and that I teach her how to paint, she accepted immediately. It was not easy for me because I have been painting alone for a long time and the collaboration is a habit. I am autistic with Aspergers and when it comes to setting up a plan, I have my own rituals since childhood. Collaboration helped to free me from this obsessive weight.
You continue to push the limits on the streets and create murals that are not always commissioned. Your very first collaboration, “Parisienne,” was painted over after just five days. Did that moment change the way you approached your artistic street art mission?
From the beginning, our works were censored or repainted because they were illegally created. I was even arrested twice with a reminder of the law. Our vision was clear from these moments, it was necessary that one fights to be able to express freely. For an artist to express himself freely in the street and to have his art recognized there is only one article of law that hinders this freedom. So with a bit of conviction and determination, we are now able to make ourselves heard. We are artists, not vandals and we do not consider degrading the public space by our paintings, on the contrary.
Your are fearless when creating your pieces and working with new techniques. You continue to explore illusionist painting techniques based on three-dimensional effects. Can you please tell me more about your preferred technique and the creative process behind such projects?
Anamorphosis or 3D are all the more interesting techniques when they are performed on the street. It becomes a game with the viewer of the work. I have always liked to make things fun and we must believe that we are great children. The supports are also not flat, and knowing how to play with the environment is just as interesting in the execution of the work, as to see the final result.
Your recent dancer mural for le Festival Loures Arte Publico is beautiful. How did this project transpire and what inspired you to create the contrast in subject matter with the addition of a leg with a partial robotic prosthesis?
“Adelaide” is part of a series of several characters that we created. All the characters that we will reveal one after the other, have a common history. They all live in a Paris of the last century but at the same time are anachronistic. Passionate about steampunk, we wanted to tell a story, which would not be directly ours anymore, but through these different characters. Adelaide is the first to be unveiled. All these fictional characters and their story will be unveiled at an upcoming exhibition.