Ella and Pitr, of the street artists that challenge the conventionalities

Ella et Pitr, des street artists qui bousculent les conformismes

Paris | The artist couple Ella and Pitr continues to denounce interventions surprising in the urban space of the consumer society, advertising, and also a form of street art decor that puts up with it.

This duo of saint-etienne has launched in recent days a campaign of advertising in Paris, in addition to a large wall mural and an exhibition in Paris.

For the past thirteen years, this duo impertinent investing a little all over the fields, facades, roofs with frescoes, deliberately ephemeral, mixtures of termination of vitriol and humor tend to Sempé.

Their characters giants stuck in their frame, who sleep in the middle of the city, are now well identified. 35 and 38 years of age, young parents, they laugh, reflect without chapels or blinders to the company and don’t take it seriously.

Their greater performance: have completed the last year the most large fresco in Europe, as big as four football stadiums, at the Door of Versailles, a fresco that one can only see that with a drone or reproduced on the social networks, and which shows an old granny putting his finger on the edge of the device.

Many fans have seen a little everywhere these last few days of the posters posted with the old lady. With the session “live or laugh moulibre” (instead of “live free or die”).

“We announced our coming a way a little wild!” said Ella. “It was a postcard for you Parisians, but we had not your address,” they responded to their supporters.

With the street-artists Ox and Tomtom, “we have done a small ride in the paris metro in the post-coronavirus, it was pretty quiet,” says the amused Pitr to the AFP.

In one evening, Ella and Pitr apply in three stations of the collages on advertisements. Collages representative often plastic bags that fly away, to denounce the waste of the consumer.

Hair scratch

Ella and Pitr also come to paint a new wall next to the church of Saint-Philippe du Roule.

Is there a fabric to shadows, lights, and curves are sensual, and that is part of their series of works “Folds (of the self)”. “The fabric, it is the metaphor: the envelope of a character with its folds, its creases,” explains Ella.

“We are working on,” she says, on the fabric for two years. It is a form of disappearance, the fabric covers something and has something to hide.”

On the right side, in the exhibition of the Galerie Le Feuvre and Roze, which follows them for ten years, still paintings of tissues and plastic bags.

But also smaller characters who climb to two huge rocks, planets, clouds, deserts. In the questioning, falsely naive, is to be found something of the Little prince of Saint-Exupéry.

A continuous video shows how they erased a mural.

Jonathan Roze, of the gallery, explains that they “do not want to impose. It is the performance that interests them, but they don’t want to invade the personal space of each person.”

Their creations, he says, are “contextual” in space and time given: “this is not a work that you can copy-paste it on 30 different facades”.

Ella and Pitr are claiming the instant, the ephemeral, the hair, the scratch, the work without smoothing which is reacted or perplexing.

However, some street-artists, denounces Pitr, “are the pretty, decoration. It is like a woman botoxée, she did a bit of surgery, it holds the road one time and after that, it becomes anything.” These works “are polluting as much as advertising”, landed hard, Ella.

“We, he adds, it has a relationship with the street that is not aggressive, but we want there to be a line of energy.”

“The street,” explains even Ella, no one can take it as a scrap book and will pick anything at random on a wall. It is necessary to know why one intervenes.”

“If you work on the clearing, she says, is that it has a relation to the drawing that is very spontaneous, free. We want it to vienna and that it disappears as a word.”

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