When I am like yesterday, in the middle of nature, in the heart of Paris, on an abandoned train track – you can still see my stories 👆 – I feel the Street-art of the origins.
Free, without ties and without complexes. Without money too.
I remember the chase races with the subway agents & cops when I was a teenager, I even had a tag and I ran aha very quickly.
We’ve been up on the rooftops and it was pretty sporty.
Since then, I have entered the market of contemporary art.
I see today the growing pressure from a generation that wants to make all this dtreet-art work profitable. If course, I understand them.
There are also investors and enlightened amateurs. Fluctuart has just opened in Paris, it’s bold and it doesn’t surprise me coming from its founder who is a real rebel at heart. But what is the market?
Does it exist?
Are the orders public or is there a real interest in the private sector? The private sector is both a collector who will do everything to raise his artist and institutions that will invest in ROI and image.
Comparing or even assimilating Street-art to contemporary art is difficult.
It seems also that this is even dangerous ground, you shouldn’t make enemies because of misunderstandings.
But I want to know more behind this culture and as soon as I can this winter, I’ll investigate this question further. Street-artists also have to open their doors to me.
When I passed in front of this painting of Thomas Houseago I wondered if the faces hadn’t come out of one of Enki Bilal’s creations or the universe of #1984
Child, I often read these stories very popular in the seventies and from which I found comic strips in the family attic.
The future seemed so different from the one I imagine today. Before, I used to see missions with close-knit teams discovering other universes.
Today I have the impression that I am travelling on internal journeys without worrying about the distance that some of these journeys or these causes put between each of us.
One of the paradoxes I observe is the voluntary distance coming from someone who doesn’t understand why I’m on social networks and yet who knows how to use them very well 😅
Is the notion of sharing relative?
What I like about Thomas’ work is the trace of his personal journey.
Like his works coming from the earth, he experienced the worst difficulties and bit the dust several times over. He is a survivor and that is one of the reasons for his success for me.
Beyond his drawings, paintings and sculptures, there is a will to express himself through silence in this world where so many voices are heard.
When I see this artwork here un this pic, I see ghosts, images from the past, sometimes recent, with which I can learn to live.
Fortunately, for my part, I have already found a solution, the most effective for me: Accept what is, take care of my body, act without forgetting what the other feels and continue to do what I love in my own way and especially as best I can.
The rest… The ghosts and the inner worlds can always try to catch up with me because I no longer run 🤹🏃😊
Good Saturday to you!
The ones that make me breathe every day, without me really realizing it ☀️
This composition of wire, chewed wood, plaster and painted canvas shaped by Bernard Schultze at the beginning of the sixties reminds me of the flowers of Baudelaire.
I see from life and even a little something eternal, an eternal dried into a work now hanging in the eyes of the one who has the chance to see it.
A little like in poetry, words and forms remain in memory without me often understanding why.
At Baudelaire, it is neither the spleen nor the non-conformism that touches me, but the gesture of describing a feeling and the willingness to open up to the other without fear of looks.
In Bernard’s case, the exploded aspect of these lines, which resemble a rose bush that has long since died, vibrates in front of me and I have the impression that I see all these fine and invisible things inside me that make my body move forward every day.
Good or bad, I don’t want to choose.
I’m here for a while and my eyes are wide open.
I see colours and flowers in Bernard’s work and I imagine them as challenges to be passed and landmarks, as lights that I sometimes see in the other when he tells me “keep going! “
I also see artworks like this from time to time in young artists. More ecological or in vogue, they bring something really organic to life by putting plants in water for example. On occasion, I’ll show you.
This sculpture is in fact an apparently organic construction, which is what makes it, in my opinion, a modern but not contemporary work. A thoughtful, calculated work and even if I find it very beautiful, I don’t see it as more interactive, more accessible than many works today.
As in Beauty and the Beast with Jean Marais I am fascinated by the vegetation but I remain at a distance with patience.
I choose the beauty of these flowers and I patiently wait for those who will follow Bernard
When I first met Quentin, my daily run slowed down. Look at his work on the internet, I also recommend you to follow him on instagram: He is a raising artist.
I can’t tell you everything yet.
Quentin questions, in my opinion, our (living) spaces and their environment (an activity in a context) and dialogues in three stages (on three exhibitions on different dates) with 3 artists.
After the enigmatic voices of the writer Ninaleger – Exhibition 1 – whose echoing murmurs (speakers were arranged in the exhibition) gave voice to Quentin’s movable partitions.
Here are Ronan’s Fly Poursuit in Video. Ronan arranged the sculptures extracted from burnt beams between the walls.
The process instantly reminds me of Lee Bae (on which I wrote a post in my feed a few months ago.
The material is heavy and chiseled into pieces, yet each piece seems impatient to jump and fly away. The impression of lightness gives a balance that I feel even in the atmosphere and architecture of the place. As we did the voices before (they were invisible…), these works disperse the space between the partitions.
I also think @Junyaishigami who questions the space in the middle of nature (also previous post).
What I feel in Quentin’s work is the question of our space today and our relative independence – what can the community of tomorrow be, how can it divide up spaces to breathe, when there are more and more of us, and what will be the place of each one? – in a world where social ties are changing.
Here, it’s also about the escape.
A poetic escape, as I like it.
or how to let the imagination build the image I can have of reality.
When I look at these paintings, I think of the deep colours that relax me there, in front of me, in these small-format paintings, but also of the tests that have used all these abstract or even cubic forms.
I tell myself that I can see what I want in these tests as in any painting, according to my history, my mood and how I feel when I think about it.
As a mirror of art history where I can believe that there is no history, no before and no continuity, I can also tell myself that I can interpret everything because everything seems interpretable.
Is that true?
Not so sure.
There is my feeling and the history of the artist, his teaching and our time.
What I like about #sebastianblack is to simply put on a plastic form the questioning I see and which, of course, only involves my point of view 😉
Is everything really relative today? Or are things linked and connected in this way between them and between us do they make sense? A meaning that gives me perspective on my time, on my life choices and especially on my possible certainties in this world.
When I walk around here, like nothing, from one painting to another, among a few drawings and these canvases rounded in their lines, almost feminine and therefore terribly sensitive, that’s what I think of…
I hope you like Sebastian’s work too?
Edited Video from the exhibition to follow on my IGTV @borisgarreau on Instagram
What would these dwellings look like? If the colours give indications about my emotions, I certainly like to use colours to describe them, what would be the colours that the inhabitants of these houses choose?
Would they choose to give emotions, their emotions, to the walls that protect them from the weather of everyday life or would they choose, out of modesty or discretion, to keep neutral tones like those of neighbourhoods outside London where I spent many holidays studying English when I was a teenager?
Today, I only know the centre of this city, yesterday I was always lost when I returned to my host family.
All the houses were similar. I thought it was crazy that everyone thought it was normal ^^ aha
In those moments, I would have liked to be an architect and not only think about bringing Nature into houses or rather houses into their natural environment as one of the most beautiful trends suggests.
I would also have liked to have done more than just think about my relationship with the other person, even if it is important, in the functioning and distribution of the living rooms (funny because when I wrote just now, I was wrong, I had noted “traps” to “rooms”… Room and trap are almost identical words in French).
I would like to bring more emotions into and out of these houses and let the positive moods and the creative impulses that we all carry within us breathe.
I believe everyone carries it.
Emotions always have a story to me, a story that often lasts as long as there are foundations left between us.
My memories are like the stones, removable, colorful and changing too, that build my inner universe.
I would like to build more places with emotions and differences much more than with stones without distinction. I imagine a city with houses whose tones would make the landscape shine like a contemporary painting.
There would also be black like Soulages’, white, materials from the surrounding soil, natural pigments and then thousands of different compositions.
Every new resident could also repaint their new home, brick by brick…
Emotions allow me to transmit so much, to protect myself and to tell things to others by taking healthy risks.
I like to feel, see and touch this world around me. I would rather have emotions in all these places that are also a part of us.
『•』 Like a library of colors… 🖍️
The color red is still invisible on this post but you will soon see it, it is one of the new and many ways of this artist that I saw here…
I passed this morning to the studio of #akikuroda and my eyes opened wide when I discovered this large space with canvases twice as high and wide as me 😅 and all these arrangements or canvases and sculptures make my eye bubble as an art amateur and collector.
I have seen well-known works, such as his self-portraits in Minotaur, and others that are more confidential.
I fell in love with rabbits: Light, fun and sharply drawn. I had the impression that each of them would come out of their painting ✨
This gesture, this momentum is exactly what I feel when I am with Aki. At 75 years old, it is inspiring to see an artist who is so dynamic and who constantly challenges his art to improve it. Look at his Instagram and tell me what you like best! 🙂
Between Paris and Kyoto – a city where nature is present everywhere – Aki literally observes the sky.
His gaze plunges into the universe to the point of having participated in several collaborations with scientists who probe the infinite above our heads.
I like this search for scope because for me observing distant space means a willingness to discover, a mixture of curiosity and pragmatism.
To find things, you have to think about them but also act.
It also means for me a deep reflection on myself, on my inner self, as a journey to the unknown that allows me to discover who I am or who I could be.
A comfortable trip soothes me, it is often short. A distant and inner journey gives me the opportunity to see further around me, to take the time to think about my relationship with the other and certainly to surpass myself in my only life on earth.
Aki works on his paintings sometimes over more than 10 years, he starts, puts several layers, looks for the intensity that you can see here and then lets the painting – and his mind – rest;) – sometimes for a long time.
I saw sculptures that had been made as part of Opera set design projects.
For the performances, you will soon be able to follow on the internet and on the artist’s website, the upcoming performance at La Rochelle or Aki will be filmed by 3 cameras for 5 days.
Yoyo, we thought of you and all the incredible work you do around Aki’s work. Well done. It was a nice visit that we had planned months ago aha it was time to see each other again:)
See you soon! 😘🔹🔸🔹
You can also follow Yoyo on Facebook and LinkedIn
@borisgarreau to follow all my vidéos & experiences/Adventures in the art World
at the Cartier Foundation during the preview press.
This art place is a glass case on several floors created by #jeannouvel and set between the arms of an almost wild greenery – in which are scattered beautiful and discreet contemporary sculptures – that makes me completely forget that I am in town.
I’m disconnecting… and almost forgot my laptop – part of my current life 😅 – on one of the garden tables. OMG !!
When I am there, I feel like I am lifting the lid that I sometimes feel above Paris and breathing like when I do my morning yoga. With deep and long exhalations.
Nature and art are outside and… inside.
When I read the title #nouslesarbres #wethetrees I imagined the cartoons I watched as a child in which they came to life and talked to us, with Wisdom, about the things of life.
Reading one of the explanations that tells us about the exhibition, I learn that the first known fossil forest dates back 385 million years and we humans have only existed for 300,000 years.
I also think that despite all the constraints we impose on Nature – there is a video that touched me a lot about deforestation due to agriculture and cattle breeding – it was there long before us and that it will (in what form, we’ll might see) certainly be there long after us.
I see the corruption of things as a process in formation and as the sailor who sometimes lives in me, I am not sure that we will succeed – even unconsciously – in defeating life on Earth.
I think more so that it is our own human life that we are actually putting at risk… I also really liked all the details provided by the curators of the exhibition. Like a jungle, the subject around the trees is vast and dense and I appreciated the landmarks and explanations of the staff present.
I learned so much from Stefano Mancuso about the new fields of investigation of plant neurobiology concerning plant intelligence.
I knew the shamans and the link that these descendants of healers through plants continue to transmit, sometimes with spiritual notions.
I discovered today that trees do not have a brain, and therefore no pyramidal organization like us, but that they constantly communicate – as a network – with each other to protect themselves from their environment.
When a tree detects an intrusion (viruses, dangerous insects…) defences can be put in place and when it reacts quickly and effectively, it transmits to its species its “experience”…Crazy!
What do you think about that?
The exhibition starts tomorrow. Parisians and travellers, it IS a good move to do & see.
On leaving this place, I observe
Under the sun, the walls of the building, which are actually glass surfaces. They shine like mirrors while letting my gaze pass through the spaces from whatever angle I am.
In a few seconds, I’ll be in town. Already.
See you soon! 🔸🔹🔸