Friday, 20 August 2010

LSD Magazine Interviews - Rero (Issue 5)

Consciously sidestepping an image based aesthetic to combat the visual saturation of our generation, French artist Rero uses his minimalist Verdana texts to challenge accepted notions of private property and the lines of ownership we draw around places, people, items and ideas alike. Barring his own words in a reflection both on censorship, self censorship, and questioning his own premise, his paste ups have an abandoned industrial feel to them that mirrors many of the derelict homes his posters find. We hit him up to find out a little more.

RERO, PARIS , FRANCE



We've seen your posters around Hackney Wick, one of them refers to copyright, is copyright an issue for you as an artist?

The notion of Private property and copyright is one the basis of my work., In our society, and more specially in public space, this notion organize our  perception of the city and our comportments between us. I have the feeling that to interact with our environment, it was necessary for me to think about this notion.


You clearly have an eye for textures, how important is texture to what you do?

I really like the contrast and in the same time the integration between the texture of the wall and my simple typo-artwork. I always try to paste-up or stencil my texts in order to integrate them in architecture of the place and by this way to make sense. Without the texture and context of the wall, my artwork has no point to exist.



 
 We noticed on your website its states that you have a graffiti background, it also notes that you don't express the same values, would you mind elaborating on that?

Yes , I discovered painting in the late 90s with the 100 RANKUNE TEAM (SRE). Several pieces, let’s say “typical graffiti”, under the name of AURER, and few stories with the police who make me change techniques and adapt myself. Restrictions usually motivate me to change the shape of my expression and techniques. I really like playing with letters  as the graffiti artists and by the time, I tried to develop my work, more in a  general approach using universal code as verdant typography in order to affect more people and not only our acolytes who visit abandoned places. The common point between my artwork and graffiti that both of them are created with letters and are instal outside: but, the message is not the same. Graffiti environment is a Small world with too many codes and restrictions that I used to create also by myself in the past. Now, by using simple typography I feel more free to express new messages , more in communion with my spirit.





READ ENTIRE INTERVIEW IN LSD MAGAZINE ISSUE 5





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