« Hello, I am FLUOR.
I live in France actually. i’m around 40, and I have 2 coolkids. (g/b)
I have always been a completely devoted artist and human,
and im a passionate and hyperactive one.
Throughout my life, i have experimented with different mediums,
supports and techniques such as stone carving or electronic music
and graphic design in all its forms (street art, design, painting,
drawing, digital or physical installation , video manipulations…).
When I was younger, I was leaning towards a job in animation
and was in charge of group vacations for children and teenagers.
I quickly decided to take care of disabled children and adults such as those
with autism and Down syndrome.
This was one of the most enriching periods on a human level,
where I was able to deepen the psychological relationships
by discovering new links between perception and emotions.
In 1998, I became a stone carver and sculptor
and worked for more than 15 years on many historical sites
such as churches or cathedrals.
This was my most physical approach to the material world,
where I understood patience and introspection,
meticulousness, love of the craft, but also physical suffering,
the relationship with the material, and the satisfaction of creating something lasting.
In the early 2000s, I participated in several local contemporary art exhibitions
and even organized some, bringing together emerging artists from all over France.
I had a great interest in bringing art where it was lacking in order to offer
a cultural approach to people who did not have access to it in an obvious way.
I also worked as an artist on different projects such as scenography
for gothic rock concerts (being a big fan of The Cure),
but also for techno parties and festivals,
Starting in 1994 when I discovered, coming from England for the first time,
the work of Aphex Twin, LFO, and Autechre,
and then the entire rave and club scene (Orbital, Ritchie Hawtin, and many others).
I have always been passionate about computer-assisted music production.
I have been creating electronic music for 20 years and today,
I wish to use it in symbiosis with my visual creations.
In short, a life filled with all kinds of artistic research that
would be difficult to fully detail in this summary.
So I feel very lucky and grateful to have been able to live these
multiple experiences, because they are now an integral part of my conception
of the world and of what I seek to bring forth in my work:
A manifesto for freedom that would be a kind of testament to this heritage.
Since then, I have left that profession in 2020 and have been working as a
full-time digital artist for the past two years, allowing me to engage in a deep
search and reflection on the new modes of the Art market,
particularly its digital dissemination linked to the democratization of
decentralized Web3 and blockchain.
By actively participating within this community,
I hope to bring something that is not often seen and that is a pure representation
of my perception of the world:
A mixture of futuristic industrial pop and psychedelic cartoon,
which takes up certain graphic codes from the old world while making
a fresh, wild and uncompromising proposal.
During these years of experimentation, I have developed several styles
that have become my signature.
I aim to present a varied but homogeneous graphic style,
which is actually a synthesis of this balance,
in order to perfect it to the limits with the help of new tools such as
artificial intelligence, combining technical know-how and philosophical knowledge,
and which is the lifeblood of my entire reflection around the ethics,
messages, and deep role of art in our globalized culture.
Thus inviting the observer, the art consumer, to evolve their perspective on
the future of a hyper-connected world,
of an augmented reality or even consciousness in which new generations will need to
know how to maintain control over their identity and mental integrity.
A sort of technological utopia for some, stained with inevitability of course,
but which lays the fundamental foundations of our future values,
of what we are, and of the adaptive responses that will have to be made
in order to preserve this common heart line of which we are all the temporary holders,
and which some call faith in humanity. »
F.L.U.O.R
(March.27.²°²3)
My father’s art
