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julien Grudzinski
 
 
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julien Grudzinski / Contact
© julien Grudzinski
 
 
Né le : 13/04/2020 à La Chaux de Fonds (Suisse)
Nationalité : française
(Tel : 06.82.91.81.95.
04.90.77.74.56.
eMail : grudzinski_julien@yahoo.fr
Blog : http://www.kokoom.com/grudzinski/
 
julien Grudzinski / Présentation
« Girls swaying their hips in low-waisted trousers. A pack of dogs howling at bulldozers. Stags belling to greet the new pope. A Death-Metal band playing for newly-weds in front of a church. »
Tense, broken faces screaming into emptiness. They try to smile, make themselves roar with laughter while watching MTV but if their eyes are shut, it’s only because they are brimming with pain. Series of pocket-format drawings ( mostly black and white ) , like teenage doodles found on high-school boys’exercise-books. Interference from electric guitars penetrating the air. Metal-gothic displays on TV screens, keeping time with the heavy rythmic beat of hip-hop. Twisted, contorted faces on canvasses, in violent response to phallic sculptures ( heaps of chain-saws, guns, swords …). Logos of heavy-metal bands adorning do-it-yourself tools…
I wander through a universe of imposed images. I invent an artistic form of expression drawn from visual flashes arising from the popular economic culture. Extreme rock, hip-hop, horror films, cars, Hollywood stars, pornography, religious rituals are as many images which belong to the caricatural vision of the Western artistic world. They become the visual code which is predominant among Western adolescents. I deal directly with these temporary instants through all forms of media.
I want to stress the beastly conduct of man as a male, when he instinctively adopts an excessive behaviour ( military violence, hard-rock drummers following a faster and faster beat, high-powered cars, extreme sexual conducts, overexposure… ). Dogs, monsters, extra-terrestrial beings appear throughout my work and, from a distance, glance at our unstable mankind. Those beings, symbols of a futile return to instinct, are recurrent visions in my paintings and videos.
I deliberately use these crude images in order to get near the border separating the moral man from the man who, via extreme conducts, lapses into violence and fascism. I allow myself to refer constantly to contemporary philosophy, trying to go beyond the notions of good and evil. A touch of masculine violence comes to light in this unrelenting will to find the appropriate balance between the acceptance of one’s own exacerbated feelings and the need to enter a pseudo-moral society.
I have come to the decision to use painting for it appeared to me as the most natural medium. In all my paintings, I actually endeavour to feel again what I felt when I made quick sketches with my biro. I don’t attempt to make a copy of the drawing but I use the same form of expression. Often drawing my inspiration from comic strips, most particularly macabre ones, I attempt to create an artistic link between that language born of an adolescent counter-culture and a more traditional approach in the art of painting ( or, at least, more firmly rooted in an artistic consciousness ). In so doing I try to destabilize the process of global creation by separating the impulse from the concept.
American novelists such as William S. Burroughs, Brett Easton Ellis, James Ellroy or Michael Connelly have introduced words that come to life in the images and the sounds of my various works. They constitute the multiple elements that strengthen the themes I deal with. I build up a construction that I keep unsteady, hesitating between humour and horror, reality and fantasy.
 
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