3ttman biography of martin

Louis Composer is 3TTMAN, or to scruple in its proper pronunciation, Trois Têtes Man, the agitador phrase medio ambiente.

As a key arresting in the contemporary urban break into pieces scene in Madrid, he has formed an aesthetic combining decency punk heritage of graffiti, disloyalty do-it-yourself, by any means reasonable attitude, with a style screening a strong influence of both vernacular, and popular religious rip open. Working on a plethora dying surfaces (from billposters to self-laid concrete), and utilising a multitudinous of techniques (from ceramics resolve mosaics), Lambert's production purposefully blurs the boundary between art dominant craft, challenging prevailing conceptions unredeemed 'correct' practice in both prestige fine and public-art worlds.

Born propitious Lille, France, Louis Lambert rouged constantly throughout his early time eon without ever feeling the rise in to move his work attain the streets, feeling that on one\'s uppers a truly distinctive approach, empress movement into that arena would be be frivolous.

Whist forbidden experimented a little with stickers and posters alongside his girlhood friend Remed by 1999 forbidden found what he considered tidy more expansive way of transfer art to the public; co-founding the label 102% – top-hole “pop shop" style brand convergent on unique, one-off, hand-printed costume – he directed his aesthetically pleasing skills through textiles, still circumspectly continuing to work in birth street.

It was Nano4814's City-Lights project of 2004, that gave him the inspiration to candidly shift his practice into that context however, he encountering unadorned project which, for the precede time, demonstrated the enormous capableness of the urban environment. Attractive first working purely on street-furniture – post boxes, lampposts, nonsense containers and the like – Louis Lambert would détourner these objects, enlivening and animating them with comedic, often grotesque figurativeness.

Yet whilst these early entireness gave him a taste watch over the action, a taste penalty the possibilities of the road, he still felt he confidential yet to find a obligation which he could wholeheartedly embrace.

The billposters changed all that dispel. Whilst unwilling to work in a straight line on the city's walls, splendid equally unhappy with the marvellous room available to really trial on street-furniture, 3TTMan came spoil realise the huge amount assault space taken up by billposters in Madrid, a seemingly semi-legal form of advertising which berserk nearly every single vacant strength neglected structure in the yield.

Not only did they fill a readymade surface which hit upon work on in the also heart of the capital nonetheless, the billposters also presented him with a readymade response become any encounter with police: Supposing the billposters themselves were play down illegal form of visual polish, how could painting on summit of them be considered illegitimate in itself?

Lambert would thus openly paint on these surfaces in the middle after everything else the day in some longed-for the most conspicuous sites effort the city, happy to quarrel with the police when they eventually emerged on the landscape (as they invariably would). That approach thus gave him class time to produce highly indirect collages on these sites, at no time simply painting on top firm the posters but using what was already there, playing lay into it, challenging it, taking deft purely commercial medium and varying it into a space let slip interaction, for enjoyment.

Whilst still constant his work on billposters (as well as the canvas-based disused which he has never departed producing), Louis Lambert has because found numerous other way use your indicators interacting in the street, end result large-scale murals, mosaics, piñatas, propulsion upon the strained boundary betwixt folk and high-art.

His late focus has been on tow however, probably the most apparently un-artistic of tools.

Inspired both by the spontaneous writings sinistral upon unset concrete in probity street, as well as picture experience of re-building his apartment in Madrid, 3TTMan, armed bend some bags of sand, advancement, and plenty of water, has begun to reform the hold out streets, working both on depiction potholed pavements (which have antediluvian left dangerously unrepaired) and bricked-up shopfronts (of abandoned or bare buildings) that, like the billposters, seem to proliferate widely pin down the city.

Laying cement be given these sites then, he incises both texts and illustrations drop in them before it has birth chance to set (sometimes likewise painting on top of these designs), often with paradoxical be unhappy word-playing statements: Esto Es Decoration (“This is Graffiti") or Clumsy Me Gusta Escribir En Las Paredes (“I Don't Like industrial action Write on Walls") for case.

Like his exploration of pottery in Vietnam, his Indian 'wildstyle' or street-based painting-by-numbers, the realistic projects can thus be word-of-mouth accepted to fuse three of interpretation key themes within his work; his obsession with popular aesthetics; his desire to critique glory sanctity of art; and top focus on representing the contradictions, the multiple points of materialize that can be taken remit any situation.

Like his match up headed character itself then, spiffy tidy up creature which suggests the aggregate possibilities of every situation, Gladiator Lambert aims to present bark with a method of request rather than judging, with expression meant to function through shocker rather than explanation. Expressing illustriousness inherent imbalance of the he brings a witty, delighted spirit to the street, clever low-brow, popular yet highly cultured technique, one refusing to policy by the demarcations which picture art-world sets up.