Fabien Castanier Gallery Announces New RERO Limited Edition Giclée Available Now
Untitled (PLEASE REMOVE YOUR EGO HERE...) Limited edition giclée from RERO
Edition of 50 + 10 AP
31.5 x 24 in. (80x60cm) on 300g cotton fine art paper
Stamped and numbered with hand-signed certificate of authenticity
Available now exclusively through theCastanier Gallery Store 250 USD + global shipping (Limited prints per customer)
The virtual should not exempt us from staying real, and to try to get closer to this state, we must be able to put our ego aside. However, it is particularly difficult for an artist to do this... This ego sometimes allows us to surpass ourselves on an ad hoc basis, but in the long term often condemns us to an illusion of well being, even if we turn into a copy of ourselves.
What is it to be true in an era where everything is virtual or even "false"? Guy Debord spoke of the entertainment society, where spectators are in a movie theater wearing 3D glasses in front of a big cinema screen. Has life become a film in which we play our own role? Has reality gone beyond fiction? Wouldn't the copy be more original than the real one?
The artist introduces a new technique in his work, that of the anaglyph*, in order to question this border between the real and the virtual - untie the true from the false - but also the ego, his self-esteem, in front of others. The artist also introduces in his work, through this discourse on ego, the notion of otherness.
*Anaglyph 3D is the stereoscopic 3D effect achieved by means of encoding each eye's image using filters of different (usually chromatically opposite) colors, typically red and cyan. Anaglyph 3D images contain two differently filtered colored images, one for each eye.
The work of RERO (b. 1983), while instantly recognizable from his distinctive visual style, contains within it an inherent fluidity as he explores myriad social concepts, from technology and consumerism to language and obsolescence. He continually stretches the boundaries of his artistic mediums, often choosing to forego traditional surfaces on which to plant his minimalist statements. RERO's text, always in the same Verdana font and stripped of any flourish beyond a bold strike-through line, become embedded within the medium, acting as a literal and material addition while simultaneously a marker for deconstruction.
At the very core of his work are these concepts – the confrontation, the aesthetics of destruction and the idea of appropriation. His pieces began as site specific urban "interventions," text placed on dilapidated and abandoned buildings. Translated from the exterior to the interior, RERO's most ambitious pieces are large-scale installations that make use of the art gallery or museum venue to explore notions of context and perceptions of space.
RERO studied graphic design at the London College of Communication. His works have been shown in numerous public and private spaces, including Pompidou Center, Musée en Herbe and Musée de la Poste, Confluences in Paris and Antje Øklesund in Berlin. More recently, his work has been exhibited throughout France, the United States, Germany, Italy and Switzerland.
Top: RERO, Salton Sea (CA) 2013 \ Bottom: Photo by Birdman, Fabien Castanier Gallery, Los Angeles 2012