Today I’m a wandering old soul looking for cosmic truth and a decent house.
I’m not really at ease with that. I guess to someone who has never seen it, I could say: a mix of gothic, campy, dreamy, trashy, rock influenced fantasies. Sounds kinda stupid.
I think it really depends on the opportunities, the money involved, etc. For installations and videos, you often need a gallery project, production budgets, and so on. I can work on collages every day at my studio with my books stack, paints and glue almost for free. Also, there is a sense of emergency in the process that I need sometimes, and the experience I have now within this medium gives birth to the works quite quickly, as opposed to the time you spend on making a video or an installation.
It probably was a picture of Guns N’ Roses taped on the cover of my notebook while in junior high, something like that. Something like a Peter Sutherland collage.
To me it’s not very different from trying to write poetry. I see the visual material, at least the one I use, as a neutral material that belongs to anybody, just like words. Then everyone can rearrange them in their own way in order to create something unique, interesting, personal. I think you need the same experience and work as in any other art form or field in general.
I don’t know, it just happened. Maybe because around this time I had difficulties settling down somewhere, so it was a lot of crashing around and wanderings from one place to the other. Collage was fine then because they are small formats and I could carry them around more easily than the paper cut-outs, which are bigger and very fragile.
I had a few weird books brought from various trips. It all started out of boredom one afternoon, and also as a way to relax. The paper cut-out works are terribly difficult and intense to make: all these tiny scraps of color paper to cut and glue, it was insane. It’s a shame people have to see them physically to realize the amount of work they involve. You can’t really tell when you look at them on a computer screen. So I was taking a break from this series, and I thought these collages I randomly made were kinda interesting, and I just looked towards this direction.
It all depends on where I live! Usually, I have my spots where I often go to score some old books and magazines. It can also happen that I order some online when I’m looking for something specific, like these American teen magazines from the 70’s that I used lately. I have this unknown logic that I immediately know what to get even when at first the book looks super random.
I’ve been into bikers’ stuff and campy teen mags recently. It’s just the elements that inspire a sense of beauty and meaning on me, and I want to build works from them. Often they just come to fit at some point –for me– and tell their own story.
Yes, definitely. I’ve been living in a haunted flat since 3 years, so I can add this experience to many years of so-called paranormal beliefs. I’m trying to escape from there right now. It’s like a horror film. I believe in some stuff, but there is also an aesthetic that I’ve always really liked, that is closer to me and to a certain idea of romanticism, rebellion and various subcultural thrills. I’m into some things and philosophies. They are not necessarily linked to the core of my work, you know? I don’t think Dario Argento supports murder and serial killers.
There has to be! I do believe there are other people out there. Sometimes I just think about the day when we’ll read the news and it says «ALIENS ARE HERE», and when it becomes something normal in our lives. My girlfriend knows better about the subject. I am fascinated by planets, their beauty and mystery, and the fact that we’ll most likely never go there. Mystery is important. We don’t have this anymore today. It’s such a strange situation, I think.
I don’t think they are really sexual. Maybe some of them, sometimes. But to me they are mostly nudes in the academic sense. I see them as statues. I think the figure of the woman, a feeling of ecstasy, the idea of death and beauty are more accurate than sex.
It’s cool being part of a certain aesthetic I’ve always been influenced by, specially as a younger person. I think she has a kind of American sensibility that I share too. I like lots of artists from her collection. I guess I would collect some of them myself if I could. On the other hand, I never really found specific discoveries within Agnès’ collection. I’m not sure she really «discovered» artists the way she says she did, most of them –myself included– were already active when she started collecting them.
Nothing really exotic. I met her at the opening of a solo show I’ve had with a Parisian gallery I was working with (from 2008 to 2011). She was there and bought a couple of my paper cut-out works and talked to me. She showed interest working with me once this gallery closed, which was kind of a fair move from her.
There are always weird encounters at openings. Typical opening night would be like this one time in New York when a creepy girl was telling me I looked like Rod Stewart, while a very posh Upper East Side man was asking me –in French– if I was related to the Baroness Von Langendorff, who is like a spooky looking prostitute (as he told me). I hope I’m not.
I displayed some new works last June in Paris for a small solo show called ‘Neon Ash Path’. I have been working so much in the past 6 months that I almost did not feel like the ’nail’ of this show project, within the endless process I’ve been involved in recently… It was like, going out of my studio, hanging the artworks in the gallery and almost going back to my current works right away. I’m kinda looking for new experiences right now, new exhibition spaces.
I am working on a new series of works called Gutter Magik, all black and white, wild stuff. They are part of a new monography that my friend Thurston Moore will publish in January through his publishing house Ecstatic Peace Library. It should be a very nice book.