December 15, 2017
A Major Street Art Figure
L’Atlas started as a graffiti artist in the 1990s. Fascinated by the art of symbols and writing, he set out to study Arabic calligraphy in Morocco, Egypt, and Syria. He was especially interested in “koufi,” the geometric writing that he used to transpose the codes in the Latin alphabet, creating his own style of typography.
After experimenting with photography, painting, and video, L’Atlas developed a pictorial universe in which every letter is considered as a form, and each form as a letter. Little by little, even the city appeared to him to be full of signs that he collected the almost abstract shapes with a system of imprints.
Eastern thought, according to which duality is the source of being complementary, occupies a preponderant place in his life and in his art. That is the source of his artistic explorations, where one observes a recurring dichotomy between black and white in the major part of his compositions.
His work with typefaces and calligraphy led him to other forms of art in the streets. He became, with urban artist Zevs, a leading figure in the post-graffiti movement and conceived a series of urban interventions. L’Atlas created the outline of urban compasses on one of the facades of the Centre Georges Pompidou in Paris, with one of his frequent tools, extremely large and adhesive gaffer tape.
Over time, parallel to his presence in the streets, his artistic practice evolved toward the conception of works that are more timeless, presented in exhibition spaces adapted to his work. Yet without losing the controversial and subversive spirit that characterizes the artist.
Other work available upon request
Cédric Calmels, ventedart.com
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