The work presented in the traffic Art Gallery is a work based on very clear from the history of classical art, modern and contemporary. Each piece presented, including the title, originates in various works which impressed me deeply, so very bright or more subtle. Let's start with the title taken from a piece of Annabelle Hulaut (originally Hubaut, which proposed to exchange its B against L Mr. Hulot, a job between reality and fiction. Hulaut Annabelle seemed actually to have become a fictional alter ego of the artist Annabelle Hubaut). This work a lot like me scarred, I had to reinterpret, and it became the title of full absurdity of this exhibition, and thereby itself become part of the exhibition.
The original sentence was "Lend Me Your take my L and B, I turned into a" hackneyed Desires gives me an N I'll take the Q, "and became a reinterpretation absurd and vulgar, which ultimately has very little to do with this poetic phrase. As shown in the photos it is based on elements from different works, deconstruct, manipulate them to get a job that is anchored in a specific context, and can not claim to be the height of the works that inspired it.
We are talking about abuse of position, space that is not what they seem to be inspired both paintings by Van Eyck, for their constructions, as Jeff Wall, through the films of Pasolini or Festen. Misuse of the meaning of the object, the subject, instead of the artist in his work. An Artist triturated, becoming ridiculous when it appears among the others, half-naked in this photo large (2x3m). Misuse of the subjects, everyday objects, sometimes enlarged, in some cases creating a composition that stops but just waiting to escape out of context, sometimes to the right scale, inspired by the Baroque iconography, objects stacked with each other, worthless objects staged in such a way as to give an impression of gilding, and yet locked into the limited space of this photograph (2m high by 1 m wide), it must raise its head in order to kiss the photo. They are, however, that the bad apples and plastic. These large format photos
build an entire pictorial space with empty sets, and full spaces, housing abyss, as can be seen in Brassai's photograph in "Lovers in a small café near the Place d'Italie" tables in the table. I speak here of a deconstruction of the visual order that loses the audience. This is only to create spaces and unstable situations in equilibrium with the everyday, but may fail at any time, never to rise again, creating discomfort.
Finally I was regularly asked about such work if we could consider them as tributes to artists whom I speak. I say no, because to make a tribute, and as I mentioned earlier, would have my pieces are level with these artists that I admire. These are just simple interpretations of a given time, so in a different context, inspired by the art history that I love, and I'd like everyone to discover. I forget just not where my work comes from and therefore where I come from.
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