Pol Taburet

“What we perceive first is a pure pleasure of painting. The surfaces are sometimes dense and lumpy, sometimes translucent and luminescent. They collide and cannibalize, merge or collide. During his process, the 23-year-old artist cherishes the unexpected: without a preparatory sketch, he turns and turns his frame then, by adding a few details, freezes a fleeting appearance. Then, the glowing cavities become eyes; soft excrescences, ears or masses of bandaged muscles split with a carnivorous smile augmented by grillz.

As he begins his last year at the fine arts of Cergy, it is therefore as a painter that we meet the one who also officiates under the alias Yves Ciroc, is sometimes a clipper (he recently collaborated with Emma DJ), spent some time in fashion and is currently working on an interactive sculpture project.

But his practice of painting, of an uninhibited erudition which catapults Jonathan Meese or Peter Saul into the universe of Caribbean mythology and American trap, is only one of the many surfaces of appearance of his living humanoids which , freed from the ruts of identity, find themselves propelled into an expansive field of electrical energies.”

“The energy of nightlife is practically audible in Pol Taburet's paintings. High tones that arise from brightly colored palettes are mixed with deep bass sounds emitted through dark, amorphous figures. Taburet's work challenges the canon of what is considered beautiful, turning the grotesque into something erotic, something that grabs our attention even if we are tempted to look away.

As a young painter, Taburet bridges the gap between the history of classical art and contemporary cinema, literature and music. Like the Flemish or German masters of the late Middle Ages, who depicted apocalyptic scenes, monsters or fantastic chimeras, Taburet creates his own alternate worlds in which souls seem lost, and we, the spectators, are seduced through these portals of hell.”