FRENCH

OX

The early graphic works using screen printing and photocopy were soon replaced by live painting sessions during rock concerts that corresponded to a strong urge for action. From then on, my signature changed to become the two reversible and symmetric letters O and X.

ENG

When I was studying at the Arts Déco School of Paris in 1983, I took part in the making of the Blank  graphzine which featured artists such as Pascal Doury and Nina Kuss de Lucrate Milk .

A small group emerged, motivated by the will to create images inspired by Bazooka and Figuration Libre . The early graphic works using screen printing and photocopy were soon replaced by live painting sessions during rock concerts that corresponded to a strong urge for action. From then on, my signature changed to become the two reversible and symmetric letters O and X.

Meeting Jean Faucheur and discovering his work was decisive. He does large paintings which he then pastes onto billboards. We were all enthusiastic about this way of working, so we joined him in using the same process and we created the group called the Frères Ripoulin .

Painting on every possible type of support was our means of expression: it was impulsive, using parody, and founded in the Pop Culture with a definite penchant for bad taste.

 

PT

“Quando eu estudava na Arts Déco School de Paris em 1983, participei da confecção do Blank graphzine que trazia artistas como Pascal Doury e Nina Kuss de Lucrate Milk.

Surgiu um pequeno grupo motivado pela vontade de criar imagens inspiradas em Bazooka e Figuration Libre. Os primeiros trabalhos gráficos usando serigrafia e fotocópia foram logo substituídos por sessões de pintura ao vivo durante concertos de rock que correspondiam a um forte desejo de ação. A partir de então, minha assinatura mudou para as duas letras reversíveis e simétricas O e X.

Conhecer Jean Faucheur e descobrir seu trabalho foi decisivo. Ele faz grandes pinturas que depois cola em outdoors. Estávamos todos entusiasmados com essa forma de trabalhar, então nos juntamos a ele, usando o mesmo processo e criamos o grupo chamado Frères Ripoulin.

Pintar sobre todos os suportes possíveis era o nosso meio de expressão: era impulsivo, paródia e fundado na cultura pop com uma tendência definida para o mau gosto.

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