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Josephine- what was your first artistic stir as a spectator?
Le Kiwano- My first artistic emotion was for the work of one of my grandfathers, (both were painters) grandpa Michel when he showed me and explained one of the paintings he had made and for which he had obtained a medal (gold or silver I do not remember) during a competition.
Later, I was impressed by Guernica by the illustrious Pablo Picasso. All these shapes, these colors telling a story... Emotion passes, and yet it is abstraction! That's what's huge!
Josephine - we feel that joy, through color, is one of your main messages. What about the tangled multitude of characters that clump together? What does it express?
Kiwano- Indeed, color is part of an artistic approach that has been put in place as I have been making. Color brings a touch of joy at a time when bad news is tarnishing everyday life.
The accumulation of characters reminds us that it is urgent to take the time. By this accumulation I want to force the viewer to stop and take the time to look at the details.
The characters look like monsters, but I prefer to call them pepers. Why deformed pepers? Simply to remind people that we are loved as we are. Society imposes codes on us to respect to be in boxes, we must be beautiful, presentable, not go beyond the path. No! You have to be yourself and not appear to be someone else.
The last point of this approach are the floral and / or natural elements that I integrate into the realizations. Whether it's through a flower or an insect (or something close to it) because nature is important, we are there because of it, and it's not the other way around. It must be protected, saved!
Joséphine- As a child from the North of France, what relationship do you have with her typical cities? What influence do they have on your inspiration?
The Kiwano- I don't really have an attachment to a particular city. It is true that I still admire the squares of Arras by their particular architecture, but I am also in admiration in the streets of other cities, discovering other places renews the images in my head.
Joséphine- Your artistic studies have allowed you to understand all the techniques. What motivated your choice of inks and Posca?
The Kiwano- The posca is just one tool among many. I adapt to the support. Indeed I apprehended a lot of drawing techniques at school, including painting. But I never liked to paint with a brush. And making mixtures to get THE color was always a hassle for me.
Before working at posca, I only drew with pencil liner in black and white. Then I came to bring color to the alcohol marker.
By discovering posca (I knew by name at school but had never used) I discovered a wide range of bright colors that corresponded to my universe. But it didn't stop there. I was invited to an art festival where I had to paint on a 2m50/2m50 board.
As much to tell you that with posca I did not succeed! This big frustration allowed me to question myself and adapt my practice. The festival was on a Sunday. On Monday I ruminated, on Tuesday I bought paint cans and on Wednesday I repainted my garage with pepers to train!
For supermarkets I now also use digital tools! This allows me to intervene in places or supports that do not allow the spray paint.
Joséphine- What does the way others look at your creations bring you? Is it necessary?
The Kiwano- So, somewhere, the gaze of others is important. I make my works without paying attention to what people will think about it. I draw for myself at first, because it makes me feel good, it allows me to find myself. To be in the moment.
For a long time during the studies, competition between classmates was in order. To be better, to know how to draw better than the other. I didn't have that mindset and so I let myself be stepped on, losing confidence in myself. I kept my creations for a very long time without showing them, throwing away several drawings even.
Then one day, I started "scribbling" on one of my notebooks. When Jessica, my colleague, saw this "scribbling" she pushed me to show my achievements.
Today, people's compliments give me back that once lost confidence. When, during an art festival, a dad comes to see me to find out if I want to be photographed with his little girl because it is my achievement that she prefers, how can I not be touched?