{"id":25913,"date":"2021-12-04T08:44:23","date_gmt":"2021-12-04T07:44:23","guid":{"rendered":"https:\/\/www.urbanpresents.net\/?p=25913"},"modified":"2023-03-24T11:00:57","modified_gmt":"2023-03-24T10:00:57","slug":"arnaud-enroc-in-france-space-for-play-and-intuition","status":"publish","type":"post","link":"https:\/\/www.urbanpresents.net\/en\/2021\/12\/arnaud-enroc-in-france-space-for-play-and-intuition\/","title":{"rendered":"Arnaud ENROC in France: Space for play and intuition"},"content":{"rendered":"\n

Beginnings in a rural context<\/strong><\/h2>\n\n\n\n

Arnaud Enroc was born in 1983 in France, in Brittany, in Quimperl\u00e9. After a time spend in Lyon and Rennes, he lives actually in Nantes. At the end of the 90s, he discovered graffiti writing in the city of Lorient and Brest and was fascinated. Again and again he drove to those cities to examine new pieces. Through images of graffiti in the press, in some skate magazines and in the “Radical” magazine in France, his interest grew until he started drawing himself, buying spray cans and trying his hand on wooden boards in his parents’ garden. A friend of his was also enthusiastic about it and became active himself. Together they painted scrapped vehicles in the countryside at first. At that time, his first moniker was ASTEK and there was hardly any graffiti in the rural area, even in abandoned factories the two boys were the first to leave graffiti pieces. Only in the city of Brest was a graffiti store for accessories those days and when Enroc got his driver’s license at 18, he was mobile and could explore more places with graffiti and therefore meet other writers. Initially, his stylistic influences were in classic graffiti: wild style, semi wild style and 3D style. In Brest the crew C29 painted mainly in wild style, in Lorient the crews MOKER and BAN and especially DINO left striking pieces in a 3D style that impressed Enroc, as well as throw ups by MOSEN. Few times later, he discovered pieces by ARS crew, who painted in a less classic style, which later on, would inspire Enroc as well. As of 2002 Enroc painted MASE\/MAZE and became a member of his first crew SIA, founded by him, L\u2019OUTSIDER and AHEL. At that time the pseudonyms of the three members were SANTOS (later AHEL), INTOX (later L’OUTSIDER) and ASTEK (later MAZE). This crew then became YOLERAP with other members such as PomZ, SNOBE, TAKOS, DGLS, PACK, AHEL, ICER and BONER. From 2001 to 2006, Arnaud Enroc was at home in classic graffiti writing until he got bored with it. However, his great passion for typography remained, and he attempted new visual languages for painting his name in the following years.<\/p>\n\n\n\n

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ARNAUD ENROC, Moelan Sur Mer, 2002 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2002 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2003 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Concarneau, 2003 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2003 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2004 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2004 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2005 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2005 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Moelan Sur Mer, 2005 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Brest, 2005 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Gestel, 2006 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Hennebont, 2006 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Rennes, 2006 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Breaking with the old codes<\/strong><\/h2>\n\n\n\n

In the early 2000s, there were already a number of writers around the world who were rethinking graffiti and developing new kinds of styles. On the Internet, Enroc followed these developments and networked at the time through websites like aero.fr, fat cap, fotolog and streetfiles. From 2007, Enroc changed his style and intentionally painted failed “innocent” letters, as he calls them, with sometimes poorly drawn lines, and added figurative motifs over his lettering with a kind of sticker effect. These realistically painted motifs, such as plants, airplanes, classical architectural elements, or antique sculptures, appear strangely, bizarrely displaced on his pieces because they had nothing to do with the graffiti context. In this phase, Enroc deliberately did not want to create reproductions of well-known classical graffiti codes, but rather to break codes, experiment, create an anti-style, with simple typographies, representational motifs taken out of context, and thus create atypical pieces, images, hybrids of graffiti and painting. The outlines of the pieces were no longer only horizontally laid out like a lettering, but partly oval or misshapen, or they were surrounded by a painted frame. Single simple small drawn letters of his pseudonym were placed here and there in the large letters.<\/p>\n\n\n\n

After 2013 Enroc painted even more experimental. The legibility of the letters interested him less and less, his pieces were increasingly only about shapes and motifs. For this, he also liked to fall back on kitsch, was inspired by random images from the photo platform tumblr, used ornaments and simple figurative representations, such as the motif of the vase, which appears again and again in his work to this day. He also added quotes in the form of motifs from classical antiquity, such as columns, or classical modernism, such as the world-famous silhouette by Matisse ” Nu bleu\u201c. The French artist Matisse continues to be a source of inspiration for the French writer with his planar coloring and tense lines, playful pictorial structure, lightness of his pictorial themes and, in his late work, his concentration on the essential. Just as the play with emptiness and fullness is an important theme in the silhouettes, the paper cutting, it is also a theme in Enroc’s work. Modern painting inspires Enroc for his visual language till now, even if, according to him, he has not dealt with it in depth. But his work continues to revolve around the letter, which he constructs and deconstructs in his pieces, abstracting it, stylizing it into geometric forms or even making it disappear, all in favor of an experimental picturesquely aesthetic.<\/p>\n\n\n\n

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ARNAUD ENROC & ICER, Moelan Sur Mer, 2007 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, SNOBE, TAKOS & DGLS, Moelan Sur Mer, 2007 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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ARNAUD ENROC, Queven, 2008 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Clohars-Carno\u00ebt, 2009 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Clohars-Carno\u00ebt, 2009 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC & ICER Moelan Sur Mer, 2010 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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ARNAUD ENROC, PORTO & L\u2018OUTSIDER, Lyon, 2009 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, L\u2018OUTSIDER & ROYER, Marseille, 2009 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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ARNAUD ENROC, Scaer, 2012 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Clohars-Carno\u00ebt, 2012 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Clohars-Carno\u00ebt, 2012 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Hennebont, 2013 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Brest, 2014 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2014 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2014 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Playing with alphabets, typographies, quotes and GIF animations<\/strong><\/h2>\n\n\n\n

In the following years, Enroc continues to experiment and realizes many works, some partially appearing like a montage, with elements from naive painting or pop art. The composition of surfaces with patterns, abstract color gradients, figurative representation of objects like the vase, which stands for letters, or the integration of logos from our contemporary everyday life, like from Nike or Shell, form picturesque images with simply held forms and recognizable quotations from our Western culture and partly without clear, legible letters.<\/p>\n\n\n\n

At this time, in 2015, he becomes part of the friends collective Moderne Jazz, which now has many members, and all break with the classic graffiti codes and engage in novel forms and partly abstract graffiti (GSULF, MATI, TORPEN, FRIDA, AKBAR, NOTEEN, DJOB,DUCON, OBISK, RIOT, QUENTIN CHAMBRY, JORIS GOULENOK, HAMS, OPAR, CHRIST, SOIR, L’OUTSIDER. YMMOT, YOR81, COR21, ISHEM, ELIOT, MAZE). In 2016, Enroc also becomes part of Crew YY with many other members of Moderne Jazz, and integrates a bit later the crew CDG. The mutual influence of the crew members with their diverse styles is noticeable in some, and yet each writer has developed their own unique style. According to Enroc, the works of ISHEM, GSULF and YOR81 in particular have certainly left their mark on his own creative work, which sometimes unconsciously appears in other forms in his visual language.<\/p>\n\n\n\n

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ARNAUD ENROC, Rennes, 2015 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2015 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Rennes, 2015 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2015 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2015 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2015 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2015 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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In 2017 Enroc developed the reduced form of a car with rectangles and circles (for the wheels.), which he used in some of his pieces. The wheels gave Enroc the idea to animate them with a software on the photo of the piece. He wanted to make them rotate and thus created his first GIF animation. Later, he achieved more animations with balls rolling along his pieces as if on a track. This new playful digital medium resulted in the creation of specially designed works on the wall: in which all the abstracted letter forms were linked together and constructed so that the ball could roll perfectly along the shapes up and down as if on a “roller coaster” in the painting.<\/p>\n\n\n\n

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ARNAUD ENROC, Lorient, 2017 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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ARNAUD ENROC, Nantes, 2017 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Queven, 2018 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2018 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Queven, 2018 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2018 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n\n\n\n
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ARNAUD ENROC, Lorient, 2018 \u00a9ARNAUD ENROC<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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