After his achievements in the world of urban art, L’Outsider turned his work towards typographic abstraction. In the studio, he preserved graffiti as a dazzling and compulsive creative gesture, amplifying the possibilities of a letter aesthetic, which remains the matrix of the work.
Today, it is a rural Brittany town where he has settled for a few years that forms the backdrop to this suspenseful situation that confronts him with an unexplored temporal dimension. The Outsider sends us a photograph of his studio in the outbuildings of the farmhouse where he lives, which has become the shelter for his artistic harvest.
The relationship with space-time that marks his work is questioned by the limits imposed by the current upheaval. The full power of a tension that runs through the artist’s research is revealed, a dual tension that dispels oppositions.
For L’Outsider, today it is about dealing with this limitation, with a temporal dynamic that surpasses us, without giving up the energy of the instant of the creative act. Meanwhile, “out of his comfort zone” in the confinement, the artist learns, by observing his surroundings, by listening to the teachings of the neighboring peasant grandparents, the law of the vital cycle. A fertile dialogue between art and nature, between generations, between the earthly roots and the creative sublimation.
The artist considers this surge of the unthinkable that is solidifying the world as an invitation to humility. In his work, he will seek to accept that the work is unfolding its own temporality. It must germinate, grow, and mature. The artist wishes to appease his frenzy for more accomplished creativity. He perceives this confinement as a form of artistic redemption, having practiced urban art in its constitutive illegality—his way of imposing himself on the other. However, housing the other’s space is a stance that was already established in the evolution of the work towards abstraction. The message of !’Outsider’ is devoid of any demonstrative intent. Let each person find their own way of interacting with the work, letting themselves be carried by its dynamics, its aesthetics, as one would be carried by listening to a musical score. The artist has no explanation to impose.
L’Outsider had already begun a search for abstraction through inspiration drawn from astronomy, the vastness of the infinite, the laws of physics, and light as it defines space-time. Looking at the vastness teaches us that we are only tiny grains of sand in a dynamic that eludes us. A wish for the world after: less postures, less hypocrisy.
Outsider’s social networks (instagram): @Loutsider2000
