SLOOOW is influenced by painters, quilling paper art, Street Art, Marvel and Surrealism. His works are characterized by a figurative part (which allows the viewer to begin to tell his story about something concrete) and another abstract part (part that takes the viewer into his imagination).
It is the combination of the abstract and the figurative that makes the work accessible to all and allows the viewer to reclaim it. These figurative bodies, inspired by MARVEL films for women fighters, independent and enterprising, are her superheroes who carry their lives, their stories like capes; ready to fight to defend who they are and what they want.
Because even today, inequalities between men and women still exist, as we are reminded every year. But there is also the inequality of social classes, the inequality of having been loved or not, the inequality in education... As P. Bourdieu points out, a person's characteristics are mainly influenced by his environment. So SLOOOW asks the question, are we really free or are we a product of the environment in which we live? That's why every line, every curve counts. This defines the complexity of the human being and his relationship with society.
But how can we make this human complexity light and poetic? Watching the painters work. Painting has that fascinating aspect, which the painter can decide without taking into account any earthly gravity where he will drop his line. Each brushstroke easily follows the movement of the wrist. Precise, clean, long, short, straight, steady or jerky fluid. So many synchronized gestures to give birth to her drawing. His environment may or may not be a choice that will inspire him. Noisy, musical, silent, urban, rural... What a lucky man.
"I don't know if you've ever been in a workshop where steel is worked, but I can tell you that it's dirty and noisy. The sculptor is surrounded by constraints. The metal is cold, heavy, rigid, hurtful, the noises are a cacophony of sanding, grinding, mechanical blows. Moreover, the sculptor sculpts with his whole body, he forces, twists, pushes, burns, cuts himself, takes a bow (or I am the one who is clumsy) and tries to bring out its finesse, strength, elegance. Emotion.
So, how to sculpt the painting, how to give the work the same ease without deception? I don't want to dig into the material or just weld ends together. I would like each line, like a painting, to be drawn. I would like to sculpt the line of the brush so that each line, each curve of the sculpture counts and brings personality, character and strength to the work." - SLOOOOW