Vhils a.k.a. Alexandre Farto: Spectra

 

From October 14 to November 25, Galerie Danysz is pleased to present an exhibition featuring the latest creations by artist Vhils.. Alexandre Farto, his real name, is internationally known for his interventions in urban spaces, particularly his large-scale portraits sculpted directly onto walls. It's an approach that the artist likes to define as "archaeology of the present," involving the removal of material in successive layers to reveal the subject, as if the goal were to unearth a relic from the past and from oblivion.

The anonymous faces he thus brings to light are also a way for Vhils to recenter humanity, giving it precedence over economic logics and massive urbanization, which we know today can overshadow individuals.

 

Over the years, Vhils has never stopped exploring new mediums for his art, whether it be the concrete of walls, the paper from advertising posters, the wood of recycled doors, metal plates or resin. After a long period of artistic research, the artist has recently developed an innovative technique that allows him to work with a new medium he had never used before: ceramic tiles. These tiles are usually painted, but the artist, true to his practice, manages to sculpt them despite their extreme fragility.

 

 

The choice of this new medium is not coincidental: also known as "azulejos," these small ceramic tiles became fashionable in Portuguese constructions, especially in the 15th century when the Catholic kings adopted them as a symbol of status and wealth. It was also a way to visually tell stories and defend moral values at a time when books were a privilege and only a small part of the population could read.

In Portugal, entire walls, house interiors, churches and public monuments are covered with ceramic tiles of all kinds and colors. They tell ancient stories, exalt religious figures, or simply embellish the urban landscape with abstract or floral patterns, like a second skin enveloping the city.

 

In the context of world history, these tiles are also intrinsically linked to trade, globalization, and colonialism. In the 17th century, Portugal's maritime expansion led to the use of azulejos as an additional tool to impose a Eurocentric culture on the indigenous lands of the conquered countries. As a result, vast ceramic murals can still be seen today, in some Brazilian cities for example.

 

With this new body of work, Vhils not only incorporates this ancient tradition into his practice but also reinterprets and redefines it, giving it meaning by confronting it with its history and cultural identity.

 

 

 

This new series of ceramic works is in line with the project for which Vhils received a commission as part of the ambitious Grand Paris Express project. For this public artwork destined for the future Aéroport d'Orly station, the artist has created a large mural composed of white and blue ceramic tiles that will contribute to shaping the station's identity. The artwork will be partially visible in June 2024 and in its entirety by 2027 when the entire station is completed.