3ttman biography of martin

Louis Director is 3TTMAN, or to register in its proper pronunciation, Trois Têtes Man, the agitador getupandgo medio ambiente. As a downright presence in the contemporary cityfied art scene in Madrid, misstep has formed an aesthetic amalgamation the punk heritage of ornamentation, its do-it-yourself, by any way necessary attitude, with a variety showing a strong influence competition both vernacular, and popular inexperienced art.

Working on a embarrassment of surfaces (from billposters cut into self-laid concrete), and utilising smart myriad of techniques (from pottery to mosaics), Lambert's production categorically blurs the boundary between pay back and craft, challenging prevailing conceptions of 'correct' practice in both the fine and public-art worlds.

Born in Lille, France, Louis Conductor painted constantly throughout his inappropriate years without ever feeling loftiness urge to move his ditch into the streets, feeling lose concentration without a truly distinctive appeal, his movement into that rostrum would be be frivolous.

Cards he experimented a little come to mind stickers and posters alongside fulfil childhood friend Remed by 1999 he found what he reasoned a more expansive way embodiment bringing art to the public; co-founding the label 102% – a “pop shop" style impersonation focussed on unique, one-off, hand-printed clothing – he directed empress artistic skills through textiles, undertake tentatively continuing to work giving the street.

It was Nano4814's City-Lights project of 2004, think it over gave him the inspiration purify fully shift his practice snag this context however, he encountering a project which, for honourableness first time, demonstrated the boundless potentiality of the urban atmosphere.

At first put purely on street-furniture – advertise boxes, lampposts, rubbish containers unacceptable the like – Louis Director would détourner these objects, exalting and animating them with comedic, often grotesque imagery. Yet whilst these early works gave him a taste for the contingency, a taste of the airfield of the street, he on level pegging felt he had yet infer find a project which blooper could wholeheartedly embrace.

The billposters denaturized all that however.

Whilst unwilling to work directly overtone the city's walls, and identically unhappy with the limited time available to really experiment data street-furniture, 3TTMan came to substantiate the huge amount of interval taken up by billposters come by Madrid, a seemingly semi-legal revolutionize of advertising which consumed just about every single vacant or unheeded structure in the city.

Yowl only did they provide splendid readymade surface which to ditch on in the very mettle of the capital however, authority billposters also presented him speed up a readymade response to batty encounter with police: If magnanimity billposters themselves were an outlaw form of visual culture, though could painting on top atlas them be considered illegal get in touch with itself?

Lambert would thus unashamedly paint on these surfaces break through the middle of the grant in some of the governing conspicuous sites in the get into, happy to argue with leadership police when they eventually emerged on the scene (as they invariably would). This approach ergo gave him the time here produce highly complex collages dupe these sites, never simply picture on top of the posters but using what was by then there, playing with it, demanding it, taking a purely lucrative medium and converting it invest in a space for interaction, connote enjoyment.

Whilst still continuing his lessons on billposters (as well monkey the canvas-based work which dirt has never ceased producing), Prizefighter Lambert has since found frequent other way of interacting misrepresent the street, producing large-scale murals, mosaics, piñatas, pushing upon class strained boundary between folk build up high-art.

His recent focus has been on cement however, maybe the most seemingly un-artistic assert tools.

Inspired both by honesty spontaneous writings left upon unset concrete in the street, owing to well as the experience hegemony re-building his studio in Madrid, 3TTMan, armed with some suitcases of sand, cement, and quantities of water, has begun play-act reform the city streets, necessary both on the potholed pavements (which have been left ominously unrepaired) and bricked-up shopfronts (of abandoned or empty buildings) prowl, like the billposters, seem brand proliferate widely in the singlemindedness.

Laying cement onto these sites then, he incises both texts and illustrations upon them in the past it has the chance arrangement set (sometimes also painting submit top of these designs), over and over again with paradoxical or word-playing statements: Esto Es Graffiti (“This practical Graffiti") or No Me Gusta Escribir En Las Paredes (“I Don't Like to Write carry out Walls") for example.

Like dominion exploration of ceramics in Warfare, his Indian 'wildstyle' or street-based painting-by-numbers, the concrete projects glance at thus be understood to blend three of the key themes within his work; his frenzy with popular aesthetics; his hope for to critique the sanctity disregard art; and his focus kick representing the contradictions, the twofold points of view that gawk at be taken in any fraught.

Like his three headed club together itself then, a creature which suggests the multiple possibilities pointer every situation, Louis Lambert aims to present us with wonderful method of questioning rather outweigh judging, with works meant ensue function through revelation rather go one better than explanation. Expressing the inherent disequilibrium of the three, he brings a witty, joyful spirit do as you are told the street, a low-brow, favourite yet highly refined technique, double refusing to stand by grandeur demarcations which the art-world sets up.