After his achievements in the world of urban art, it is towards typographic abstraction that L'Outsider has oriented his work. In the studio, he has retained from the graffiti a dazzling and compulsive creative gesture, multiplying the possibilities of an aesthetic of the letter, which remains the matrix of the work.
Today, it is a rural land of Brittany where he has settled for a few years which constitutes the backdrop for this suspense which confronts him with an unexplored temporality. L'Outsider sends us a photograph of his workshop in the outbuildings of the farmhouse where he lives, which has become the shelter of the artistic harvest.
The relationship to space-time that marks his work is questioned by the limits imposed by the current upheaval. All the power of a tension that runs through the artist's research is revealed, a dual tension that thwarts oppositions.
For L'Outsider, today it is a question of dealing with this limit, with a temporal dynamic that goes beyond us, without giving up the energy of the instant of the creative act. During this time “out of its hinges” of confinement, the artist learns, by observing his environment, by listening to the teachings of neighboring peasant grandparents, the law of the life cycle. A fertile dialogue between art and nature, between generations, between land roots and creative sublimation.
The artist considers this emergence of the unthought that petrifies the world as an invitation to humility. In his work, it will be about accepting that the work deploys its own temporality. It must germinate, grow, mature. The artist wishes to appease his frenzy for a more accomplished creativity. He experiences this confinement as a form of artistic redemption, he who has practiced urban art in its constitutive illegality, its way of imposing itself on others. Sparing the space of the other is however a bias which was already asserted in the evolution of the work towards abstraction. The purpose of the Outsider avoids any demonstrative aim. It's up to everyone to find their own way of interacting with the work, to let themselves be carried away by its kinetics, by its aesthetics, as one would let oneself be carried away when listening to a musical score. The artist has no explanation to impose.
L'Outsider had already started a research towards abstraction through the inspiration coming from astronomy, from the infinitely large, From the laws of physics, from light as it defines space-time . Looking at the immensity teaches him that we are only small grains of sand in a dynamic that escapes us. A wish for the world after: less postures, less imposture.
Outsider social networks (instagram): @ Loutsider2000
