Mr Lolo

In 1987, after meeting with poet and femme fatale Miss. Tic, Mr. Lolo decided to devote himself entirely to the street stencil adventure. Together, they walk the streets of Paris, go to bistros in Pigalle and to trendy clubs: they are inseparable. The campaign against vandalism brings them behind bars.

Mr. Lolo?s work contains various aesthetic, cultural and sexual paradoxes. The multiple and the unique. The darkness and the brilliance. The decadence and thepurity. The street and the boudoir. The sure and the poison. The dual identity. This permanent play with the duplicity is reflected in his subjects and in his technique.

Apparently, there is nothing more rustic in terms of pictorial technical than the stencil. The use of cutting and the bombing gives birth in general to ?flat? works, simple ones, doomed to a rapid degradation and to multiple uses.

Making proof of his devotion to his art devotion, Mr. Lolo wants to proove the opposite. He reinterprets stencils and sublimates them. His fine sense for details that can be found among Art Nouveau painters and poster designers such as Alfons Mucha is a game-changer.

According to Philippe Fontaine, his stencils seem to have been cut not with a cutter, but the scalpel; their precision is surgical. By the use of the mixed techniques, which mixes acrylic, ink spray and sequins, his portraits have a special volume, thickness, a particular expressiveness, a fragile side but also a troubled one. The use of the stencil, whose main interest is to multiply the work almost infinitely, is denied: his works are unique. The use of sequins glued by manually enhances the contrast by a shiny gold or silver effect.