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Created from an iconic Sex Pistols poster, this work creates a dialogue between British punk heritage and the raw energy of Parisian urban space. The poster, torn off and then reappropriated in the 11th arrondissement, becomes the matrix of a controlled chaos, saturated with layers, textures, and fragments. The portrait of the Queen, masked by slogan strips (“God Save The Queen,” “Sex Pistols”), emerges from a mesh of torn posters, like a muffled… cry that refuses to disappear. Through papering, I integrate the memory of the wall, the street, and her cries into the canvas. With the PaperInk technique, I blur the markers: the motif fades as much as it reveals itself. The frame also becomes a field of expression, invaded by signs and graphic tensions.
Punk fully embodies the spirit of LARTBATARD: a transgressive, hybrid art, born from disorder, appropriation, and a refusal of the established visual order: a symbol of a protesting and ever-living memory!
I created LARTBATARD, a form of artcycling born from urban collage, to offer contemporary art lovers images that resist simple “scrolling” and invite them to look differently. Using torn posters, printing inks and gestural painting, I develop six families of MadeReady (PhotosReadyMade, MadeReady_Paper, MadeReady_#Paper, MadeReady_Ink#artRevues, MadeReady_PaperInk and MadeReady_DrawInk) which replay the signs of our time and reveal its tensions. My series question identity, the body, migration and the memory of struggles, in a world saturated with images where every face seems replaceable. My works have circulated in galleries, in residences and online, in France and internationally; each piece functions for me as an archaeology of the present, a fragment of humanity to collect before it disappears.