Bronze Sculpture for Sale
Drisme-2,
2022
Aero 82
Painting : aerosol paint, acrylic
20 x 40 x 2 cm 7.9 x 15.7 x 0.8 inch
€215
215 €
One of the last works available by this artist
Secure delivery : France
+ €18
Shipping : One to two weeks
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About the artwork
Type
Unique artwork
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Medium
Dimensions cm • inch
20 x 40 x 2 cm 7.9 x 15.7 x 0.8 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: Switzerland
Statement of Intent — Drisme-2
“Drisme-2" is the second installment of the “Drisme" series by AERO 82, a collection of small formats exploring the interweaving of forms, lines, filling and emptiness, through the stages of creating a Graffiti piece: the construction from left to right in pseudo-symmetry, the flow of letter shapes next to each other, the drawing of outlines, the effects of drop shadow or 3D for example.
The term "Drisme" is a construction specific to the artist — "DRI" for MonDRIan because of Mondrian's essentialist work, which influenced him to the point of exploring its use with graffiti letters. And "ISME" for Fauvism, because one of his initial experiments had been described as having a Fauvist tendency by the artist Mans1.
Each piece in the series shares a common visual grammar: interlacing contours that delineate colored spaces reminiscent of Mondrian's work, sometimes even suggesting stained glass, though this was not the artist's intention. On the contrary, his aim is to distance himself from this technique within his own practice. A contrasting background ensures the piece's legibility and visual presence, while cast shadows lend the compositions their volume and depth. The result is a composition that is both geometric and organic, poised between structure and freedom.
From Mondrian to the street: a genealogy of form
AERO 82's work on canvas is clearly linked to geometric abstraction. The "essentialist" inspiration that the artist claims — structured composition, rigorous planes, reduction to formal essentials — is combined here with the tradition of Graffiti: the outline that delimits the space, the cast shadow that creates the illusion of volume, the full-field color that saturates the surface.
The interest of the Drisme series lies precisely in the tension between two legacies: on the one hand, 20th-century European geometric abstraction, with its quest for purification of form; on the other, Graffiti culture, which developed its own visual conventions outside of art institutions.
The letter becomes form. The form becomes space. Space becomes color. This is the journey of each "Drism".
The small format as a space for concentration
The small format—20 × 40 cm—far from limiting the work, concentrates its energy. In the history of graffiti, the question of scale has always been central: the tag is read on the scale of the body, the throw-up on the scale of the street, the burner on the scale of the wall. Transposing this language onto an intimate format requires a process of condensation: every centimeter counts, every formal decision is immediately visible.
The pieces in the Drisme series function as autonomous works but also speak as a series: each number is a step, a variation, a further exploration of a vocabulary formed on the walls and rethought on the canvas.
Formal analysis
On this horizontal format—a double square—the composition is organized like a relief: the outlines are laid down in successive layers, creating an illusory depth using only the acrylic marker. The carefully applied cast shadow effects give each colored plane the impression of standing out from the background—one of the fundamental achievements of the Graffiti tradition, which developed these techniques outdoors to make the letter legible from a distance.
The vibrant color palette is reminiscent of Gothic stained glass in its organizational principle: enclosed spaces filled with pure color, separated by dark lines (the outline) that act as lead. This connection between graffiti and medieval sacred art is not insignificant: graffiti has always maintained a ritualistic relationship with urban space, through the repetition of the gesture and the need to leave one's mark.
Certificate of authenticity issued by the artist
About the seller
Professional art gallery • Switzerland
Artsper seller since 2020
Vetted Seller
This seller rewards your purchases of multiple artworks
Collector’s Guide
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