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Is it the contrasting decor of his childhood, the aligned houses, an industrial basin set in a natural landscape setting that has imbued Nelio’s artistic universe, whose work plays a symphony of nuances between formal minimalism and abstract expressionism, as an attempt to coexist, within an aesthetic discourse, ideas that appear to be antagonistic?
Although Pablo Zabala began drawing and painting at a very young age before freely developing his visual language in public space through the creation of graffiti and murals that quickly gained recognition, his interest in the artistic practice led him to study Fine Arts in Bilbao. In his view, an accomplished artist must humbly confront the great masters who have marked history and learn to master the techniques of classical painting in order to better forge his own unique identity. It is about inscribing oneself in the artistic common world that precedes us, whether by accepting it as a reference or proposing a path of rupture. To distinguish oneself and build one’s artistic identity does not mean erasing the past or denigrating history: let the nihilists have their illusion of their Promethean egos.
If architecture is the first art, the major art of designing and constructing spaces, it forms the matrix of Chazme’s pictorial research, a formal abstraction inspired by urban geometries and nuanced by a singular chromaticity that opens up a metaphorical perspective. The formal universe unfolding as a web of buildings represents what man encounters in postmodern contemporary life? Are they the internal labyrinths into which our dreams lead us? Are these artifacts meant to connect us or separate us, isolating us in wall-based segregations? Chazme’s work opens up endless questions, both intimate and societal.
Destination Brooklyn for a stroll through the streets of Bushwick, one of the epicenters of New York Street Art. The neighborhood of Bushwick is an old industrial enclave undergoing gentrification, following a few years after its neighboring neighborhood of Williamsburg. Its configuration offers a privileged playground for street artists who have taken over the facades and iron gates of the warehouses and abandoned buildings.
Yann Le Berre aka L’outsider has long practiced urban art and it is now in Brittany that he has set up his studio, in former agricultural buildings transformed into a space for creation and artistic experimentation, offering the possibility of hanging the works, especially the large formats, to appreciate the scenography.
From urban art to the workshop
In his artistic research, Yann L’outsider plays with the dualities that constitute his path. His orientation towards working in the studio, about ten years ago, inevitably transformed the conditions of creation, placing the artist in a different temporal context, turning him towards more standardized mediums, yet Yann L’outsider continues to seek to recreate the state of stillness, urgency, imbalance, or even discomfort that may have stimulated the creative momentum in urban environments.
