Je veux détruire le capitalisme

$1,063
Photography
From a limited edition of 29
Recipient of the dedication:

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Technique
Digital photography
Type
Limited edition of 29
Material
Aluminium
Dimensions
60 x 80 cm
Framing
Yes (62 x 82 cm)
Quality Guarantee
Sold with a certificate of authenticity

This digital painting brings together everything I love:

- A surrealist text gleaned in Canada (I want to visit Europe, I want to destroy capitalism) in one of those tourist places where the unconscious, out of sight, expresses itself on all available surfaces.

- An abstract background or several layers of tags end up melting together and creating an intention of their own.

- A heart, because there's always a heart in an old tree or an old wall!

Axel Pilyser

Printed on Epson cold press bright digigraphed paper / framed in american box or black frame

artist avatar

Axel Pilyser

9 fans

PARIS (75), FRANCE

31 works

Axel Pilyser was born in France in 1964. He discovered photography at the age of fifteen using an old Pentax, three tanks and an enlarger. After studying at the Louis-Lumière school and starting out as a set photographer, he worked as a director-editor in political (Michel Field, Cyberculture) as well as entertainment (Decode pas Bunny) programmes before returning in 2010 to the still image through large luminous tableaux inspired by urban photography. Since 2018, he devotes himself essentially to his personal projects as a visual artist, incorporating into the walls of a territory the portraits and written traces of those who live there: Walls, you go there, you stay at the foot, it's up to you. For others, we make foundations, build, protect, separate. For me, from the caves, it's a wonderful medium to tell stories: poetic, religious, political, love stories... I work by associating ideas, mixing images, empiricism. My goal is to tell a story while leaving others the possibility to see another one. I use original photographs reworked on computer, printed on digigraphic paper with a lot of texture. The effect obtained, close to painting, allows me to affirm my fictional and aesthetic bias. We go into the wall, of course, but we can look for a bit of beauty in the catastrophe.

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