PAROLE

BE/ 1982- parole.name

01.2016 - Transhumance

fr

MAIN EXHIBITIONS

2015   « Rizoma » Museo de la Ciudad, Queretaro, Mexico

2015   « Détours » De Piano Fabriek, Brussels, Belgium

2015   « Huellas del tiempo » Lesbrouss’art Gallery, Brussels, Belgium

2015   « Prisme » Pyramid, Brussels, Belgium

2014   « Séquences –VAO group show » La Vallée, Brussels, Belgium

2014   « El Agua no se vende» Museo YAKU, Quito, Ecuador

2014   « Ciudad de Cruces »No Lugar, Quito, Ecuador

2014   « 124collection» Molitor, Paris, France

2013    « Incantations » L’Ancienne Nonciature, Brussels, Belgium

2013   « Les Bains » Residence of artists, Magda Danysz, Paris, France

2013   « 400ML Poem’s »-798 District, Beijing, China

2012   « White Wall »Beirut Art Center, Beirut, Lebanon

2012   « Art on Paper »White Hotel, Brussels, Belgium

2012   « Holy Pixacao’s »Bibliothèque Royale de Bruxelles, Belgium

2011   « Kosmopolite »M.U.B.E, Sao Paulo, Brazil

2011   « Logogrammatical »La Maison du Livre, Brussels, Belgium

2011   « Dehors » Musée d’Ixelles, Brussels, Belgium

2010   « Question Tag »Cosmopolis, Nantes, France

2009   « Arts Urbains etc. »Parc Chanot, Marseille, France

2008   « knight Light »Atelier210, Brussels, Belgium

2007   « Amis pour la ville »Espace Art22, Brussels, Belgium

2006   « Under attack »Botanique, Brussels, Belgium

2004   « L’Art transgréssif des primates modernes » MJA, Brussels, Belgium

PAROLE is a self-educated artist, refusing to be assigned or confined to the title of expert or specialist. His work is multi-faceted, at the cross roads of culture, and draws upon the use of many skills and tools.

He conceives his work like a collective history, with meetings and partnerships, both sharing and resisting. He basically acts like a man with no boundaries; turning left and right, bobbing up and down.

PAROLE reflecting upon meaningful distortions

Developing spontaneous writings, more gesturally than textually, twists, reforms, knead and mixes up the letters enough to make them illegible. It turns them into an opaque of all the readings, makes them resistant to codes of status, and produces inter-subjective communication conventions.

These successive transliterations render the original text different to what it was once. Rather than providing the original text with meaning, they instead fact render them open to interpretation and to interpellation. Such work can also be read to be representative of some sort of visual music with complete with beats and breaks in a clear rhythm.

Bursts of spontaneous speeches empty of ‘foil’, a product of unpredictable emotions and of the clashing of letters that produce something new. This approach is at the cross roads. In the form of a knot, draws reference to between the different forms of understanding and taking ownership of our world.There is spiritual and sacred feelings and meanings in these writings and in its relationship with art, with life.

Ultimately we not can dissociate its calligraphies, its urban flaneurs, and its graphic ramblings.It is the public and political dimension of his art that ‘references’ semiocratic problems of public space and the paradigms of our time.