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 Aux origines de Liox |
Liox is a graphist and a painter. He was formed at the famous Graphic Art School Corvisart, and integrated the pictorial heritage of many great artists such as Keith Haring, Jean-Michel Basquiat and Andy Warhol. But hisr principal stroke serves a very precise concept : "I love a West where sacred, sex and moral are three separated soul driving forces, where women, handicaps, strong, weak, and human beings, all of them, advance in a world that neither reduces them, neither forgets them." However his paintings deal with these three thematics with an absolute liberty. In 1983, Liox starts with a long serie of illustrations for childrenís books (he even wrote one), then he continues the next year for the adult press to consecrate hiself at painting. Liox has mainly exposed at the Sao Paulo museum (Brazil), at the Musée de la Poste at Rueil Malmaison, Modern Art Center, at the 3 Suisses Fondation and at the Caroline Corre's Galery.Liox
est graphiste et peintre. Mais son trait caractéristique, est au service d'un concept très prècis : "J'aime un occident, ou le sacré, le sexe et la morale sont trois moteurs d'âme dissossiés. Ou la femme, l'handicapé, le fort, le faible, les humains, tous les humains, évoluent dans un monde qui ne les réduit ni ne les oublie" dit-il. Aussi sa peinture aborde ces trois thématiques avec une liberté absolue.
En 1983,Liox débute par une longue série d'illustrations
de livres d'enfant (dont un écrit par l'artiste), continue l'année
suivante dans la presse adulte pour également se consacrer à
la peinture. Liox a principalement exposé au Musée de
São Paulo (Brésil), au Musée de la Poste, au Centre
d'Art Contemporain de Rueil-Malmaison, à la Fondation 3 SUISSES
et à la galerie Caroline Corre. |
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| Liox,
the artist mad about drawing I often remembered the anecdote concerning Hokusaï, the Japanese drawer, who delivered nonchalantly a little drawing representing a duck with an incisive stroke. The art lover complimented him on the simplicity of the line, but was surprised to wait for so long. The drawer took him to his studio where there were rough sketches of that picture, thousands of them... Things are like that, with a pen, we have to do, redo, do and do things again, to simply do them. Without taking myself for a Japanese, I've sometimes used hundreds of sheets of training paper for a single drawing. Today I feel better. I accept imperfections on paper or paintings but less easily when they concern the earth. A line that flies away or skids, it's at least a bit more life in the art work. We have to accept it. But people aren't ink or stains of paint, for goodness sake. Famines, wars, diseases, all kind of accidents everywhere while reading the papers or watching TV we can sometimes believe we are in a Jacques's Callots's engraving. I'm thinking of a quotation of Voltaire : Men are insects who are eating one another on a little atom made of mud. The
period is confused and worrying. Some flute players have the opportunity
to steal bodies and souls. Just like in the Marsyas's myth where this
satyr used to charm men by the sounds he could drew from the instruments
with his mouth, we still charm them when one plays these melodies. Nevertheless
the music score is a wrong-reality, that denies it's liberties and the
potential of humans beings by blending sex moral and sacred. Three important
soul driving forces we better not blend, or transform in a miracle existence
method. The only things I do mix are colors, and I never disguise words.
We are always the product of our time. As an artist, I'm also it's anti-product.
After having done thousands of drawings of ducks and many other things
I would like a painting which deals with all this, that questions without
theorizing, with a great creativity, and without taboo. |
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Liox Shcool of graphic Art Corvisart. Major exhibitions
Art Postal Musée
de la Poste, Paris Illustrations
for adult press Illustrations for
chidrens
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