Interview with Philippe Baudelocque by Sophia Ait Kaci for FatCap
Philipppe Baudelocque Ile is an artist from graffiti. In recent months, the trick is to draw animals with white chalk on the walls of the capital and elsewhere. But do not tell her it's a street-artist, he does not recognize it.He explains why - it and other things - the gallery Since, when we met for its first solo exhibition.
Do what you can introduce yourself?
Baudelocque Philippe, 36.
Do you draw since childhood?
So here at all. My father is an artist. When he painted the weekend, he put all his oil paintings, and he let me play with. And I drew anything. I made small sticks of color. I was not too interested in the design, more by the harmony of colors, geometric shapes. The design has come quite late, with the graffiti. My first artistic work was the graffiti. Like many people my age and suburban - I just Essonne - I and I tagged Graff.Everyone Graff time. It was not just commuters, there were guys in Paris. I signed DECIM, TITAN, NOVA and then it was merged. I also remember very clearly the day I decided to take the pseudo FUSION.There was a story on Kid Frost on M6. At one point of the story we see a big brown tag at FatCap: FUSION. And here I thought "this is for me!". I realized then that the word Fusion is a true value for me.
After high school, I made an art school. My work always revolved around graffiti. I wanted to be a designer at the base, but in the course we explain how such Starck was influenced by Brancusi . And it is clear that when you see an object of Starck, you're immediately link to Brancusi. So I asked for another section. During the year, I joined the art section. I wanted to talk directly to owners!
By chance. I passed the Wall Street Bridge cabbage. A wall painted black. I thought it would be nice to do a chalk drawing. I took pictures, made a simulation and presented a dossier to the owners of the wall.Since I do and I delete it regularly. The chalk is both sophisticated and simple. And I draw animals. So the fragility of the chalk represents well the power of man over nature.
The graffiti to me is the energy and monumentality. When you draw on a canvas, you feel the support. It's a few sticks and a piece of cloth.You feel it. When you make a drawing on a wall is more hefty, you feel the thickness of the wall behind. This is the entire building that you take. And because energy is the physical graffiti. We must go to get on the tracks, climb walls, etc. ... we feel that energy in the result. After all I care, it's the attractiveness of large areas. In the graffiti, we are not afraid of the mass. I love my flops, big blocks.
The art school has given me an open mind, a knowledge of techniques (video, multimedia, paintings, frescoes, ...). And reflection on the artwork. If you want to work as an artist, you must ask yourself the question "what differentiates me from the guy next door? ". It's about being yourself and not to lie. The graffiti, for example. It was a new art form at the time. That kind, the guys from New York, they invented it! It was perfect for them. But I live in the suburbs of Paris.
What are your future projects?
Photo by Greg Corsaro
Photo by Greg Corsaro
How was the transition to the "street art"?
I do not feel concerned by the "street art". And for several reasons.Already I put about two days to make a drawing. I always ask permission because in two days you have a thousand opportunities for you to grill. And I have no speech about urbanity. Finally, I sign Baudelocque Philippe. I have no nickname. I define myself as an artist at all. Defining people in relation to their technique, it reminds me of bad memories of school: "He it is paint." As soon as one puts you in a box, it's over. I'd rather have it said of me "he draws, he makes the animals." It takes also still ...
How did you get the idea to use chalk?
By chance. I passed the Wall Street Bridge cabbage. A wall painted black. I thought it would be nice to do a chalk drawing. I took pictures, made a simulation and presented a dossier to the owners of the wall.Since I do and I delete it regularly. The chalk is both sophisticated and simple. And I draw animals. So the fragility of the chalk represents well the power of man over nature.
Photo by Vito
Photo by Vito
Photo by Vito
Up close the drawing of your works seem very spontaneous, almost childlike. Then is when you take the sophistication of the distance.Thee that he took a long time to master this technique?
The technique itself is not very complicated. I started drawing animals with large flat areas. Then gradually I added reasons. More and more.My first drawing, Akari, took me 4 hours. Now I'm 2 or 3 days. I use a notebook in which I list the reasons and I pick it when I draw.
Photo by Greg Corsaro
Photo by Greg Corsaro
What you kept from your period graffiti? And what brought you art school?
The graffiti to me is the energy and monumentality. When you draw on a canvas, you feel the support. It's a few sticks and a piece of cloth.You feel it. When you make a drawing on a wall is more hefty, you feel the thickness of the wall behind. This is the entire building that you take. And because energy is the physical graffiti. We must go to get on the tracks, climb walls, etc. ... we feel that energy in the result. After all I care, it's the attractiveness of large areas. In the graffiti, we are not afraid of the mass. I love my flops, big blocks.
The art school has given me an open mind, a knowledge of techniques (video, multimedia, paintings, frescoes, ...). And reflection on the artwork. If you want to work as an artist, you must ask yourself the question "what differentiates me from the guy next door? ". It's about being yourself and not to lie. The graffiti, for example. It was a new art form at the time. That kind, the guys from New York, they invented it! It was perfect for them. But I live in the suburbs of Paris.
What are your influences, then?
Nature. When I was little, my parents offered me books on nature. My gifts, that was it. How does the animal kingdom, stars, etc ...
Photo by Greg Corsaro
And the city?
The city we live in now. What interests me in the city, are the rhythms, proportions - the structure of the living - the laws of nature. I could make my drawings in the forest, it would be the same.
Fusion is more than a blaze?
Like I said, the word fusion has value to me. I am interested in quantum physics, mathematics. The word "fusion" is the translation into an artistic language of the laws governing nature. There is an expression of architecture that I have taken my account "Form follows function", to which I added "form follows function follows fusion." I try to trace the chain of causes.
What can you tell us about the exhibition?
The exhibition consists of large paintings of animals made of chalk and a screen printed in 40 copies. They are all unreleased made this summer. For the opening, I also made a drawing on a wall in front of the gallery, to chalk this time. The artists who exhibit here (gallery sincere) are able to draw on the wall, in agreement with the City of Paris.
Photo by Greg Corsaro
What are your future projects?
I have a project in preparation with the Hopital Trousseau, for which I worked. That's again a stairwell in the oncology service. On the occasion of the exhibition, we also worked with several neighborhood schools. I'll draw a wall in the school yard. The students did preparatory work in recent weeks and they will learn from my drawing to make their own.
Photo Sylvain Gouraud
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