Prenošenje klasičnog slikarstva na ulice i zidove u raspadu.
Sometimes you see art so stunning being created that it doesn’t leave you with much to else to say. That’s what happened after I watched a video of a colllaboration of French street artists Žilda and Rö reinterpreting L’assassinat de Marat (The Assassination of Marat), a painting by Jean-Joseph Weerts. I immediately contacted the two and they were kind enough to agree to our quickie interview.
Could we get you to comment on that piece?
Žilda : This is a two-person work entirely made with paper brush. The point of this pictorial collaboration was to have our worlds and styles (which are quite different) meet on behalf of one and the same setting up.
Rö : It took almost one year before this project came into existence. We had to do a lot of spotting before we found the ideal location, offering the same architectural layout as the original work.
Žilda : ..the place also had to recreate the atmosphere of the painting.. it was essential to choose a “setting” respecting its private atmosphere, slightly theatrical, and offering quite precise lighting conditions.
We’d love a blow by blow of that day and how you decided on that piece.
Žilda : One day, we were at the” Crime & Punishment” exhibition in Paris, where that famous painting of Jean-Joseph Weerts’ was being displayed. It was a real blow! A revelation for the two of us..
Rö : We thought it would be very exciting to take over that work by adapting it our way and adding our own staging…
Žilda : It’s a little like our “Ode to Charlotte Corday“. But of course under a visual and artistic pretext..
Rö : …and for the fun of it! We were keen on handing this rather tragic theme with a tongue-in-cheek approach, by being absolutely ourselves.
Žilda : It’s not just about adaptation or pictorial interpretation. It’s first and foremost setting up. According to the place, the furniture, the light…
Rö : Yes..we work with visual, concrete materials, which can be “shaped”…that is the exact opposite of the canvas.
What’s the mission statement?
Rö : The place of our “Marat’s murder” wasn’t accessible to the public and the actual spot was destroyed a few days after the setting up… so we wanted to share our little fleeting lunacy through a video.
Žilda : By the way, we need to thank the author of that video who made it with great involvement and inventivity. Thank you, Colin ! - hahamag.com/
French artist Zilda’s classically influenced street work are inspired by old books and works of the master painters and sculptors of the past. With such a wealth of material to refer to, it was somewhat surprising to find out that his work is all originally hand-painted. We talked about his history, technique, and future, among other things in our interview – all after the jump.
Arrested Motion (AM): Can you tell us a little about yourself (where you are from, your background, whether you have any formal art training)?
Zilda: I come from Rennes (West of France) and I’m self-educated. I quit school early to travel all over Europe. I made a living by selling pictures I painted on my way. So far, my life has been a bit rough around the edges… Before engaging in painting, I was alternately a punk, a beggar, depressive, an activist and a librarian.
AM: What inspired you to create your recent series, taking your version of classical sculpture and paintings to the streets?
Zilda: That’s a passion for old books and popular press which brought me into contact with a whole set works (engravings, prints, sketches…) that are forgotten or little known from the public. I can’t stand the idea that those pictures are exclusively owned by collectors, bourgeois libraries or museum archives.
My work is based on a mythological, literary and pictorial iconographic corpus and pays tribute to many illustrators that history unfairly forgot. In some ways, I want founding myths to interact with our puritanical contemporariness [sic].
AM: There is a certainly a rich history of French street artists – Blek Le Rat, Miss Van, Jef Aerosol, JR – to name a few. Are there any that you admire or are influenced by their work?
Zilda: I’ve got only one inspiration as far as street art is concerned. And that is Ernest Pignon Ernest. I like the radicality of his work, the strength of the themes he deals with and so, the great respect he has for the public.
He is a man who brought important issues in public view …
AM: Can you tell us a little about your technique? Do you draw all your own work?
Zilda: I think it’s very important to paste up only original paintings (made on paper) in the street. People seem to be concerned about the fact that this amount of work is doomed to deletion. I would say that what I do in workshop is like “pictorial cooking”. It’s some kind of grub that tests the effects of calligraphic nib, posca, eye liner, cotton buds…
AM: Any shows or projects for the rest of 2010 that you can share with us?
Zilda: I’m going to carry on the « unproductive expenditure », devoting my time to creating for the transient… I intend to revive and stage some founding myths found in the “Ovide’s Metamorphoses” on the walls of different cities. - arrestedmotion.com/
Interview with Zilda