JF-iNk, Street Art offspring

Wisdom, acrylique, spraypaint, paintmarker, 35x50 cm

JF-iNk is a multi-disciplinary painter, mixing-up several technics, from stencil calligraphy to dripping. The topics he is working with are numerous and diversified, stemmed from his very rich personal universe. The combination between realistic and abstract art makes his work remarkably appealing as he is mastering all these technics with consistency but also spontaneity.

His graphic and stunning canvases are naturally referring to Street Art movement. However, even if the artist is obviously inspired by this trend, his creations are not subject to the street hazards and the subsequent short life expectancy of a piece of art displayed on a public wall. Indeed, he is carrying out his works in a studio and exposes his art in galleries.

JF-iNk works are revealing in some extent a reflection from their apparent naïve fluidity: they are actually conveying a fresh and spontaneous feeling, although they are clearly  made with thoroughness.  

The eye, scratch card, 50x65 cm

Could you tell us briefly about your artistic path ?

I am a self-taught painter; I actually did not recieve any training or follow any workshop. I am just passionate about art and I have self-educated myself for the past 15 years. I began with tagging in the streets but I quickly choose to use paper, pencil and ink as mediums. Thereafter, I started to be more and more interested by painting, which became my main working medium. Nevertheless, I don’t want to be limited in any area because I like stirring together different technics and customize objects.

Mega munny, acrylique, spraypaint, paintmaker 

Would you define yourself as a Street Artist ?

I would not qualify myself as a Street Artist because I don’t practice in the streets. I see myself more as Street Art offspring as all my compositions are strongly related to Street Art technics and patterns. I actually prefer being in a studio so I can have time to think about my next creation and to plan how I would do it. Still, the streets are attracting me because of the giant format and the possibilities that could not be reached in a studio.

Share, acrylique, spraypaint, paintmaker, 50x70 cm

Are you getting inspiration from specific artists or artistic trends ?

Like said previously, I take most of my inspiration from Street Art. Concerning the artists, lots of names come to my mind but I think that the artists from the "9ème concept" have certainly  impressed me the most. Their manners of expressing themselves in such different ways but still with consistency, push me to keep practicing my art the way I do. Thus, I am consistently testing divergent technics from one another like ink (my first medium – hence my pseudo “JF-iNk”), drawing, traditional painting, typography and stencil. It is by looking at C215’s work 3 years ago that I get keen on practicing stencil technic. I did not perform an extraordinary job as for my first tentatives so I quickly gave up my first idea of a multi-layers stencil application and kept the single-layer as my preferred technic. One of its big advantages is that I can easily materialize the portrait global shape as a base to then be more spontaneous in the contrast and color arrangement. In a whole other frame, one of my favorite artists of the moment is Bruno Leyval who masters ink painting.

Less is More..., liner on artbook A3

Could you detail the technics you like working with ?

Most of my drawing are subsequently refine by computer. I use a graphic tablet to shape the main drawing’s lines and depending the height, I print the result or I draw them again on 200g paper. After waiting for few hours, I cut the main portrait form, apply the different background layers and colors. I varnish/gloss the whole by adding shadows and lights, thanks to acrylic paint, that give some depth to the drawing. All the process can be seen on my Vimeo profile: jf-ink stencils.

 Blackbook P1, paint liner on artbook, 14x14 cm

Blackbook P2, paint liner on artbook, 14x14 cm

Do your portraits just originate from your imagination or from pictures ?

All my portraits are photographs-inspired. If I find a picture that I like, I can create a stencil from it. By the way, I recently began to work with some friends of mine that are photographers. They are realizing gorgeous portraits and we have several common exhibition projects.  

Crying colors, acrylique, spaypaint, paintmarker, 50x100 cm

I noticed you let a great place to contrasts in your works, in both a matter of exposure and colors. Is this taking on a special importance to you ?

Indeed, I like to privilege contrasts in my paintings. I especially enjoy playing with shadows and lights to give the portrait some depth. I value the black and white format but I prefer to use bursting colors. A single-layer portrait  with stencil is very flat so the depth helps to bring it to life.

Behind blue eyes, acrylic, spraypaint, paintmarker, 140x200 cm

Do you have special projects you would like to mention?

I am currently participating to the Peace Helmet Project, supported by Wayne Anthony (the author of Class of 88’) and LSD (London Street-art Design) magazine. The project consists into turning an object suggesting violence in a positive art object. In that case, 25 anti-riot helmets will be painted by different artists (Best/Ever, Mr. Cenz, Dmark, My Dog Sighs, Stick…) to express each other point of view on this matter. The results will be displayed during an exhibition in London in the next few months. Through the help of an association in Quimper (France) named Trust in my art, I could also participate in 2014 in a collective charity exhibition : Safety Art, aimed for Hawaii children.

Concerning my future personal projects, I am planning a solo-exhibition in “My Première Galerie” (My First Galery), which is a contemporary-oriented art gallery in Quimper, starting Nov 29th 2014. In parallel, we are thinking with a friend of mine making portrait photographs to put together a performance confronting our medium.

Beauty, acrylic, spraypaint, paintmarker, 100x100 cm

JF-iNk’s use of colors and contrast approach is really in very original compositions he creates. Even if his professional career is somewhat recent (started in 2012), I foresee a very bright future for him. His unique visual universe deserves all reader’s attention and I strongly advise to take a look at the artist website.

 http://www.jf-ink.com/

The system’s mechanisms by Versus (VS)

"B&W Series", 26x95x10 cm, Stencil and painting on glass

Versus is a multi-disciplinary artist, creating objects’ customization and canvas by dynamic layout of symbolic patterns, like gear, cogs and mechanism but also eyes, masks as well as tribal and geometric shapes. He repetitively uses these patterns throughout his creation work although organizes them in novel forms each time. By exploring different arrangements, the artist reveals multiple imaginaries and invigorates discussions around nowadays’ problematic.

Indeed, the main sake in Versus’ work lies down the social and even philosophical questioning, highlighted by human/machine/nature combination. What strikes you the most is the uneven place of each pattern in Versus’ creations:  gears and mechanisms alluding the cause-and-effect relationship are often dominating. They are surrounding massively human forms, like eyes or tribal shapes, as if there were boxes… or traps. Ruffled gear, comparable to mechanism’s teeth give also an aggressive and cold feeling, which is strengthen by the choice of the colors in the compositions. Furthermore, amassing those mechanical elements reveals an inner system, as if the machine was a monster which almost engulfed humanity and was ready to crush it with its gear. Globally, the mechanical patterns are over-represented and seem to condemn the current promotion of the machine and the progressive individual dehumanization of our occidental society.

Gathering mechanisms and human shapes also questioned our system: by its complexity and endless movement, it is slipping from the control of man who ends up in a submissive position. Consequently, each composition can be seen as a cartography of these different problematic and could take the mean of a code to decrypt. Versus’ creations look as if they were influencing each other and thus constitute a denunciatory but consistent visual universe.

  "Blob From Space Serie"Collagraphy and spray paint, 10 x 15cm, 2015

 

"Cosmecavege", Collagraphy on paper, acrylique, spray paint and inks, 31x72cm, 2015

Could you tell us about your artistic path?

I did not feel like dedicated to art at first. I underwent a formation in graphics and visual communication in Paris, and when I graduated, rapidly began as a freelance graphic designer. As a first step, I worked for several TVs productions for which I realized fake visuals, logos, magazines, and different packaging according to different scenarios, in order for the companies to avoid paying royalties. Beyond the TV frame, I also had similar assignments within music, association, software, design, etc…

Nevertheless, this type of job is always pretty constraining as needs permanent concession. To me, the artistic process is a way to escape from the inevitable pressure and frustration emanating from the job. Under the cover of a pseudo I feel free to tell about messages I care about. I started to sign my works “VS” in 2011, and since this year, I have kicked off a professional activity, especially because of the very good feedbacks I received from my first exhibition.  In addition, I collaborate with other artists, like Lik (within the Dirty Monkey association) and also was involved in collective exhibition last October with Jean-Claude Cassier and Laurence Brigon.

"Cellarhizome", Resine and Collagraphy on Tissue paper, inks, Wood support 15 x 15 x 1cm, 2015

"Mecacollacell" Red Serie, Resine and collagraphy on tissue paper, Wood support 15 x 15 x 1cm, 2014

How are you deciding the pattern combination in your creations? What sense do they make to you?

I work as I write: automatically, as if I would be able to establish a form of communication between my subconscious and my intellect. When I am finalizing a composition, I prefer to get influence from my day-preoccupations and my feelings or simply from a music or rhythm that can inspire me better than a long and steady reflection. I make a point of remaining open to unexpected outcomes, incidents and uncertainty. This way is much more fun and can even sometimes transcend our mind: sometimes a simple strain developed by incident is more interesting than a mastered drawing. Nonetheless, I like to think my creations are indeed paving the way of a metaphoric thought.

The patterns of human, machine and nature are systematically embedded in my arrangements. Those three themes are interlocking to evoke a metaphor of what could be our actual world. The gears represent the system’s complexity and continuous movement giving its origin. This is also a good pattern to symbolize and accentuate the cyclic aspect of the system we are living in. The eyes are obviously representing the human side, the man stuck in the middle of the system, both actor and witness. They are directly referring to the tribal shapes, way to evoke the primitive tribes who were destroyed by the advent of machine area. The global intricacy of forms, shapes and patterns suggests the intimate chaos characterizing the system. If we were to consider to it as a whole, pieces are often structured in an organic manner and make me think of a living chaos in permanent mutation. Some of my creations are actually designed as living cells macros.

To summarize, my works illustrate critics about the merging relationship between occidental society and machines and subsequently the underlying dehumanization. Above all, this is an analysis of the current system we are living in but that somewhat does not seem to run properly.

"Mecazoïd red and white serie", 15x15x1 cm (each), Resin and Vinyl (cutting machine ), wood

"Mecacollacell Brown Serie», 15x15x1 cm (each), Resin, collagraphy on silk paper, wood

What are the main technics you work with?

I do not have a favorite technic. On the opposite, I try to mix several technics to create my own one, to end up with a unique visual impact. I can use digital features as well as manual tools like stencils, paint throws, drawing, collage, etching with acid…

"Geisha", 50x50x4cm, Stencil on canvas (4 layers), paint spray

3 Rings with jewel box engraved, diameter 12mm, 2015

What kind of relationship are you supporting with street art?

My work is strongly related to street art and more globally to underground culture but I would not describe myself as a street artist as I simply do not paint in the streets. That being said, I happen to use similar process in customizing decorative objects and everyday life tools like would have done Warhol or Keith Haring.

Ring Steampunk, diameter 25mm, 2015

"Torn Serie II Red" 1/2, Resine and collagraphy on silk paper, Wood support, 13 x 24 x 1cm

Are you inspired by specific artists or trends?

Of course, I have already mentioned the street art and underground culture among my inspirations. I have been fascinated by Jérôme Bosch, Dali and Escher works since I was a child and maybe later on by Andy Warhol, Keith Haring and HR Giger.

Influences from more recent artists may be also noticed: Bansky because of his protesting and cheeky side, Mr Zion (who I discover just last year) for his alikeness and colorful universe. I also like Blu for his amazing performances and his mutant universe of wild type.

On the movies side, directors like Ridley Scott, James Cameron, David Cronenberg and Stanley Kubrick keep challenging my imagination and questioning. Finally, I am massively inspired by some comic books as Ranxerox by Tamburini and Liberatore fascinated me with his cyberpunk universe.

"Sans titre", Resine and Collagraphy on Tissue paper, Wood support 13 x 18 x 1cm, 2014

The engaged art of Versus is invited the audience to globally reflect the place the machine is prominently gaining in our today’s occidental society. Of course this questioning is not new: from Modern Times with Charlie Chaplin to the ludicrous machinery of Jean Tinguely, many voices already raised against the machine’s oppression on human kind. However, the originality that lies in Versus work reveals the complexity of this destabilization and its macabre fusion. His creations are exceptionally striking in the sense he is contesting this relationship in a brand new way. As a matter of fact, his art deserves all reader attention and I strongly encourage to take a look at the artist’s page and to follow the progress of his starting career.         

http://www.versusworkshop.com/

Patrick Boussignac – The iconographic ingenuity

Esmeralda, 116cm x 114cm

The stunning collection of figurative paintings by Patrick Boussignac forms a personal and innovative visual universe pretty appealing. His canvases are generally representing in a realistic manner one or several characters, with multiples and diverse cultures ascendances. These characters are fascinating as they are bringing a subtle mix of erotic and anxiety (thinness, dimness, dizziness sensation, violence and even death representation).

The artist is staging his characters in a very theatrical manner by seizing classical patterns and themes from literature, art history and myths. Indeed, the amount of inspiration sources we can feel from Patrick Boussignac’s works is quite impressive. We easily can figure out his allusion to the realistic, orientalist, fantastic and surrealistic movements, to the Italian Renaissance painting and pre-raphaelism era, to some exotic or familiar cultural identities, to comic books, to fashion photography and to abstract art. The audience is thus projected in a sensitive and intellectual vision, which push oneself to the introspection and to a reflection on the look we grant to the piece of art in the museum.

Judith and Holopherne, (Private collection-Paris) 146x114 cm

Rhinomachie N°2, 165x130 cm

Could you briefly tell us about your artistic path?

I received at first a formation in applied arts to then specialize in “peintres de la Réalité” (painters of Reality) who are experts in mural trompe-l’oeil and old-fashioned techniques (like Henri Cadiou, Claude Yvel, Nadine Leprince, etc…). Afterwards, I met Gerard Di Maccio, who makes me try the fantastic painting style for a short period. I find also interest in poster creation, press illustration and comic books. Nevertheless, if I get inspired by all these experiences, I see myself as a painter above all and developing my own pictorial universe became quickly obvious. 

Saint Just, (Private Collection –Thionville)  61x50cm

Hypnosia, (Theatre Mogador Collection  -Paris) 130cmx 86 cm

I noticed some aspects of your canvases made innovative layouts if compared to classic painting. Are you inspired by specific movements, styles or artists?

 Of course, but often in an unconscious way, except for my first paintings where I clearly and impudently took my inspiration from Mondrian – say I was extending his work. But my unconscious is so full/packed of hundreds of hours spent in museum that my hand will one day or another builds up on something which touched or impressed me.

Running lady, (Private Collection – Kazakhstan) 116cmx140 cm

Starting block lady (80F) (Private collection-Avenue Foch Paris)

Praying lady, ( Private collection-Stuttgart) 100x81cm  

Could you detail what are your favorite techniques?

I use the most classic techniques of all: I sketch with tempura. Once I made the outline, I finalize my works with oil painting, sometimes realizing glazing or impaste aspects.

Le siège de la Rochelle, 195x130 cm

Vahiné renaissance, (Youkoulélé maid) 100x81 cm 

How important is figuration to you? Are you inspired by people, pictures or do your characters stem from your imagination?

I consider myself as lucky to have such a drawing gift and I try to make the most of it by working and training a lot. Realistic figuration deserves to me special attention because it is understandable and aesthetically pleasing. Furthermore, this style allows to show my dexterity. For each canvas, the preparation work is really important: documentation, pictures, color atmosphere, characters positioning, etc… Hence, I make preliminary sketches but as my creations are reflecting a personal vision, there is always an incidental part.

Le Vol d Icare, (Private Collection-Metz) 146x114cm

L’Offrande, 195x130 cm 

I could notice that you often make the interesting choice to mix several cultural identities around a classic theme. What is important to you in this type of representation and how do you chose iconographic patterns?

All is about putting ideas together, using metonymy. I am looking for similarity among different myths and religions to link them to different cultural ascendances. By cross-funding, I create representations staging diverse imaginaries, allowing a detachment and an innovative look on how questioning identities.

The truth, 100x100 cm

The Bermuda triangle, 130x162cm

Fantastic scenes are resulting from these replenishments, breaking up with the representative codes of art history, and intriguing art lovers. Patrick Boussignac’s canvases are full of multiple artistic references and cultural analogies. They get mixed up to create new iconographies by which the artist illustrates his own mythology.

I strongly advise the reader to take a look at the artist’s page where more of his work can be seen and bought.

http://www.boussignac.com/

La Dramstars – another eye on the suburbs

La voyante, 45,71x26,46 cm, 2013

The suburban housing estates (in French ‘la cité’) are always a contentious issue for the society. Whereas they are involved in many discussions, the situation does not seem to really change and on the contrary appears to feed many clichés on some populations, not helping their proper integration. Indeed, this is the same stereotypes we see and hear again and again on the media, with an over-representation of the same anecdotes in all politics speeches, fantasized on documentaries as well as television reports. For all these reasons, the cité, especially at night, is evoking a troubling/disturbing imaginary.

However, this picture can be positively shade with the use of photography to reveal a divergent look. This is an excellent medium to capture things unsaid and the anxiety underlying within a scene, to symbolize some situations and to translate a whole event or era in a single moment.

The black and white and sometimes colorful pictures of Dramstars denote an interesting detachment of the autor from cité’s scenes but at the same time keep a strong relationship between identity and memory.  These photographs were taken with a multi-disciplinary approach, melting up analytics, documentary and art to better question the cité’s stereotypes: they are illustrating the profuse life of the suburbs at day light just as well as the fixed emptiness of the streets at night. Alternatly striking, touching or intriguing, these photografs offer a unique eye on the cité.

Banlieue.... En caisse, 45,86x25,08 cm, 2013

Le quartier a des yeux, 46,08x30,72 cm, 2013

Why did you chose photography as a support for your art ?

Photography has a powerful ascendant on people when it deals with transmission. With time going on and first-hand technology becoming more and more wide-spread (even on your mobile phone !), I privilege the pleasure of capturing moments compared to the desire of really transfering a message. I have always been keen on photography, however I professionalized thanks to relatives who bought me a decent camera in 2011. With the goal to progress, I looked for professional critics and then showed my work to some cultural centers. I participate among others projects to the creation of with other professional photographers: la femme plurielle, à tort et à corps (the plural forms of women, wrongly and physically).

Asseyons nous..., 40,96x30,72 cm, 2012

La princesses du ghetto, 26,25x40,41 cm, 2013 

What are the main technics you like working with ?

I am still enhancing my work with film cameras for day-light pictures, so generally, I use digital camera, especially for night shooting. I mainly compose with the model long-pause and movement: this helps creating this fuzzy effect and perception of movement, in opposition to the staid aspect of concrete and iron. Finally, I like playing with different exposures to obtain sepia, bluish or old-fashioned results.

Désolation, 46,03x30,79 cm, 2014

CDPDV, 44,40x27,28 cm, 2013

Banlieue la chapelle Paris I, 39,98x21,38 cm, 2012

How did come up with snapping the cité?

I want to show the world I know. I was born in a cité and I know most of the people on my photographs. I want to highlight the multiple identities of the suburbs. By showing real evidence/testimony of the cité’s life and by re-humanizing people that are living in, I want to stop with the frighten aspect of the suburbs which is to me a skewed reflect but still in most people mind. Pictures allow to create a sociologic discussion via impacting visuals and to break stereotypes by presenting moments that are simply unique.

Sans titre 5, 46,08x30,72 cm, 2013

Tâche, 2013, 44,87x26,34 cm

Dramstars’ photographic work, both artistic and social-oriented, proposes a personal but powerful vision of the routine rhythm in the cité. As it is appreciated from the inside, it offers a real sociologic and aesthetic interest. That’s why I strongly advise the reader to take a look at the artist’s page and discover more about this work.

http://ladramstars.wordpress.com/

http://www.ladramstars.com/

https://m.facebook.com/LoeilFlingueParLaDramstars