Fractal #008, 2017

Lek  

Raised in Paris 19th district, during France’s graffiti glory age, known as “Stalingrad”, Lek developed his graphical style in the end of the 80’s, mixing graffiti with influences like Bauhaus, abstraction , futurism and years of studying architecture. With Hof and Osean, he created the LCA crew who brought graffiti’s classic code towards more minimalists compositions. His letters seem glitched, deconstructed. Quickly emancipating himself from the meaning of these letters, Lek chose to focus rather on their strenth lines, their graphic shapes, directions and counterpoints, making them interact with their immediate environment. Usually working in abandoned industrial areas, the rigid compositions of Lek adapt themselves to the constraints of their natural habitat. His letter fragments act as dynamics lacerating space, revealing or canceling it, opening new perspectives in these chaotic areas. Using precarious meidums, he also created installations, reflecting his pictural dynamics in volume through the space. Lek is the co-author of Nothing but letters (Wasted Talent édition, 2009) with Yko. Their pictorial experiments have influenced many other artists (such as the use of a pierced spraycans as painting tools). He has exhibited at Le Grand Palais (2006 and 2009) , participated in Lokiss’ alternative gallery, La Place Forte, Les Bains-Douches (2013), both ‘Imaginary Museum’ editions, put together by the 1984 crew in 2012 and 2013, and several exhibitions at Agnes B or the “Tour Paris 13”. Recently, Lek was granted a residency at the Natural Park of Rentilly (2013). With Sowat, he is at the origin of the “Mausolée” project, a monumental underground exhibition revealed in 2012 through a book, a video and an exhibition that opened to both artists, the doors of the Palais de Tokyo.
"My graffiti culture is something very strong that I want to mix with architecture. Itt’s a training that allowed me to paint as I wanted : break walls, carve them, slash them with colors and patterns, combining different elements to transform any given space into the images I have in my head. I try to recreate my own kind of architecture, different from what you usually see. What I like is to be is a space designer, creating movements, blends ... (... ) I have learned to accept the ephemeral nature of my work because it allows me to be free from what I was at a given time. If all my paintings had survived these last twenty years, it might not have pushed myself so hard to develop a new style. Ephemeral is necessary to create the rage that grows into something else. It motivates you to be different.“