LUDO

Do you think art needs to be controversial to be noticed?

I believe it's about energy. I choose street art because of the almost violent aspect of it; the wish to simply go out, the relation with the city at very unusual hours - a bit of controversy and against the regular society thing. I have no interest in [creating] a long skillful big wall, more the crude rapid aspect of it.

The gallery is the same for me. Maybe the difference is that I try to respect the spectator [by creating] a dialogue. Not trying to please the viewer with a decorative piece but connecting with him, giving him clues to understand my work.

I don't actually know if it's always interesting to be controversial. It can be boring to be in a constant fight. Art just needs emotion and dialogue to be interactive and be noticed.

With some of your first exhibitions back in 2009/2010, what changed when you knew people would be consciously choosing to view your work rather than strolling past it in the street?

That's an important question. For me it was a long process to actually be able to get the same vibe outside and inside. There was no interest to paste up on a cardboard on a small scale just to show inside.

I actually feel I’ve reached the point now where I consider my studio works and outside pieces as the same level. One needs/helps the other, both are about evolution.

For the first time actually, talking about my last show at Levine in NY, I felt the pieces gave me so much and were so straight to the point that there was no reason to do it outside.

Where do you think your desire to express yourself in this way comes from - is it genetic or environmental?

I believe it's all about human nature. I found my style because of my interest in organic versus technical shapes. Some kids are already skilled and have a great sense of colour without any training. Then it's about where you put your own barriers - are you OK with showing your artistic skill and would you be crazy enough to consider it as a living. It's actually hard and requires balls or some kind of masochism to put your feelings/emotion/whatever on a canvas and be judged sometimes very crudely by strangers.

Is it considered in your work that technology might now be more natural to us – in terms of where we get our food, light and shelter - than nature is itself?

The mix I use in my work is more in the idea that a new nature studies humans and morph with what results. Like the mosquito, which, after being constantly exposed to aerosols, becomes immune to most of them. Things change, and we are now the new laboratory animals.

You can read the full interview in Issue 4 - Death, corruption & politics.

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