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.
In the street context, the size of billboards and the visual competitive interaction of surrounding advertising images influenced certain graphic choices such as the use of plain, flat colours and wide rings around shapes. Discovering Keith Haring was a real turning point. During his stay in France, he painted a poster in our studio and pasted it on one of the 22 advertising boards of the Dupleix metro station which had been taken over for the occasion. The media was taking an interest in this new street art form and Agnès b, who had just opened the Galerie du Jour, hosted our first exhibition. The New York gallery owner, Tony Shafrazi, in search of new works, also offered us an exhibition. During our trip, I was struck by the emergence of graffiti and also by the encounter, as fleeting as it was memorable, with Warhol.
In 1985, 40 artists took part in a giant collage in Paris and then two group exhibitions in 1986 and 1987, suitably called “Les Medias Peintres” and “Les Allumés de la Télé”, preceded the last official exhibition of the group with each member exhibiting simultaneously in 7 different Parisian galleries. This was my first solo exhibition and on this occasion I replaced acrylics with adhesives.
From then until 1990, I took part in a few group exhibitions with some members of the group, Bla + ,Nina Childress ,Manhu and Trois carrés.
Pierre Huygue and Claude Closky began to use new media and were acknowledged by the art world. And I continued to paint. However, the euphoria of those first few years gave way to a questioning: what should I paint, on what sort of support and in which context should I show my work? From that time onwards, I committed myself to developing a more personal formal language expressed only on canvas. In 1993, I pasted a painting in the street, on my own for the first time.
I exhibited my paintings mainly in Parisian galleries until 2001, whilst continuing to work occasionally on billboards.
Both decorative and ironic, nearing abstraction through the use of subtraction or the deliberate misappropriation of signs, and permeated with commercial imagery, my art developed on the basis of the notion of aesthetic shock.
In the period following 2004, I pasted 130 painted posters on the free billboards in Bagnolet, the town where I live. I experimented with the contextual relationship between my work and the surrounding public environment, creating a sort of playful dialogue. This has become the essential core of my production.
In 2005, I was back in contact with Faucheur who started up a movement bringing together young urban artists and I joined them in large scale collage operations.
He set up an associative project called “le MUR” in 2007, which perpetuates the presence of a large billboard by inviting artists to use it for fortnightly periods. I have worked on it several times, pasting cut out paper and creating an evolving image.
It was also at this time that the Internet created a turning point in my work. By allowing me to diffuse my work widely and compare it with that of other artists, painting became less solitary for me and I discovered a sort of virtual emulation.
Since 2010, along with my billboard collages and gallery exhibitions, I take part in urban art festivals and in situ installations.

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