Kub is still on a journey through old and contemporary images.
Some he stores to mix them with others, some will become the main subject
of an artwork, some will create a common thread...

The matrix remains constant and consistent, underlying the whole production,
always under the creative constraint of the change of scale,
of outlines and coloured areas.

Kub recycles images already consumed and makes up new ones:
uncluttered, faded, outstretched, superimposed, singular images...

Under the influence of the mind-blowing videos shot by Andy Warhol
for the EPI (Exploding Plastic Inevitable)
"short cuts" have appeared, very short, experimental, with repetitive loops.
They feed a new, curious and active creative process.

// bio //

On school notebooks or on loose sheets, Kub has always been drawing.

Native of Lille, in the North of France, he has been interested in painting
from the earliest days. Rembrandt, the master of the chiaroscuro,
was his first artistic love at first sight. Since childhood,
he has piled up his own observation sketches and collected an enormous
amount of pictures taken at random.

The beginning of the 80s marked the arrival of a new cinema of anticipation
and science fiction. He was hit by Blade Runner like a ton of bricks,
which, beyond the film, became a source of inspiration.
He discovered the universe of director Ridley Scott and was fascinated by
the gloomy work of Hans R. Giger, the nature-inspired, organic compositions
of Antoni Gaudi, the drawings of Hector Guimard and Art Nouveau.
He continued filling notebooks with ligne claire sketches
and chose a curriculum in applied arts.

In 1989, he decided to move to Paris to receive training at plastic artist
Philippe Bérino’s studio. The apprenticeship was plethoric:
academic: sketche, perspective, nude, still life …
creative and experimental: sculpture, collage, silkscreen painting, happening…

The same year, he prepared for competitive exams to
“Ecoles supérieures des Arts Décoratifs” of Paris and Strasbourg.
Relentlessly going to museums to make sketches and observe,
he would be very influenced by animal carcasses and Chaïm Soutine’s works.

The 90s marked the arrival of the computer revolution
in the publishing business. Impressed by the potential of these new tools,
he decided to go into art direction in advertising agencies,
and then for advertisers.

In the early 2000s, he had the opportunity to travel a lot. As part of his job,
he discovered New York several times with photographers and designers.
He got a passion for Andy Warhol’s Factory, the underground
and the subversive counterculture of the 60s and 70s.
He continued experimenting with superimposed collages and scans.

He discovered the paintings of Egon Schiele, Jean-Michel Basquiat and
the images of Jean-Baptiste Mondino, with whom he would work twice later.

By the mid-2000s, a personal and consistent style had emerged
from his entire creative work.
After this long phase of incubation, he showed his work for the first time
By an effect of zones and layers, the matrix is revealed.
The digital picture is a multi-tiered structure in which shapes,
contours and alterations are superimposed.

We are at the boundary where photography blurs into graphic design.