PERSPECTIVA ARTIFICIALIS INTEGRAL MATRIX

Hello, today I am proud to share the new method I have work on since two years teaching Perspectiv drawing at the Tolima University. The PERSPECTIVA ARTIFICIALIS INTEGRAL MATRIX It s a brand new original method that blend advantage of three others method, it s more accurate, more versatil for drawing manually complex set.

Thank´s for reading, best regards.
2015_ARMOR_LEBIHAN_PERSPECTIVA_ARTIFICIALIS_MATRIZ_INTEGRAL

GRAFFITY UPWELLING / SECRET CP.5

Today I have to add a category to my Artistic activities. I begun in Art with the practice of graffity in the mid 80´s in Paris France suburb. I was ten years old a friend show the classical and fatal artbook “Subway art” by Martha Cooper & Henry Chalfant. It was for me a revelation. Saddly I have very few pictures of the first pieces I did in this early stage. So will show a oldschool flavoured piece of my master and mentor in graffiti art.

It´s a kind of upwelling of past and unshowed works. Actually I am exploring other medium and process, but I still have in mind this stage in my life and works. It´s still present the spirit of this period. When and why I enter in matter with the Graffity and Zulu nation movement and why switch off. I grew up with this strong cultural influence, especially from the NYC scene. I lived with my hommies of the hood, this dream in our isolated popular neighbourhood in the outter suburb area of Paris city, very very far from the sunlight and the glamour appereance of the city of the light. We inmediatly recognize us in the Harlem & Bronx kids ways of identity expression, by tagging, painting walls, rapping and dancing. This mood is a state of mind that is screams the injustice, racism of the system. Screaming by the accesible ways of expression, the hanger that is generated to segregated in a ghetto.

In this first post, I am greating my old fellow friends and mentor Frederique Legros alias SHAOLYN1. TCB (The cosmic Boyz), that around 1984 show the hooly book Subway art and iniate me to graffity art. 28 years have passed and still have the sweet memory, and fresh flavor of hard and gooddtime blended. Thnk´s Fred.

ELY1-JACKSN. 1987. by SHAOLYN. TCB. Graffity spraycan on wall. 4x2.7 m. Fosse Rouge 94. Paris suburb. France.

ELY1-JACKSN. 1987. by SHAOLYN. TCB. Graffity spraycan on wall. 4×2.7 m. Fosse Rouge 94. Paris suburb. France.

PEINTURE FRAîCHE #01.02.03.04.

Experiments I did during the painting of my desktop board. It was unexpected and the configuracion I install for protect me from the heavy sun rays, allowed shoot few pictures of some thematics I was interrested in, since I was student at the Lycee des metiers d´Arts du Gue a Tresmes, in the “Peinture publicitaire” dept, contrast between: MATT-GLOSSY . LIGHTNESS-DARKNESS. REFLECTIVITY-NON REFLECTIVITY.

In this series the ephemere is making it all, this hi glossynes state of the matter surface, just have few minuts duration, so the only way to make a trace, it s photography it, each medium in his own especificity. It´s a kind of feedback loop process where, painting and photography, inner and outter field of view , light and shade, are in a perpetual runaway.

Glycerosphatlyque paint on wood. 300x75 cm.

Glycerosphatlyque paint on wood. 300×75 cm.

14-18 RH #02

Second intent, with just oil painting. Well finally oil allow muddy mood for texture, but not allow so precise trace, cause it´s tooooooo long for dry, it wasn´t what i was expecting and lookin for.

furthermore I will blend the two type of paint (synthetic and oil) in two-phase 1.tracing light gray and black trace 2.gradient texturing of matter in muddy style with oil paint in semifluid consistency 3. background with oil paint in compact consistency apply with ruler pass…

Next will be the good one! Then I will begin the final series of twelve small and medium format, square and 1.6 proportion.

Oil ans synthetic paint on glass. 40x25 cm.

Oil and synthetic paint on glass. 40×25 cm.