Léo Luccioni is a French artist based in Brussels. His practice is derived from printed images and has drifted today to a multi-disciplinary one where all mediums assemble to form a symbolic and narrative scenography.
« I’m a forger. Of what is not precious. Of our environment that we consume and throw away. I’m an individual from the consumerist’s society, but nevertheless I produce with other tools, other materials, other logic and mainly another ambition: The ambition of setting parallel truths. Torn between my desire and my distaste of human productions, disoriented by the mutant value that I give to them, I look for a reconciliation with my environment. »
Léo Luccioni uses a global vocabulary as much for delivering a singular look on things as to report on the incongruity of our contemporary society. Paying attention to the real, especially to its underestimated forms, is the assurance of an abundant and unusual vocabulary that he is looking to review and give a different temporary meaning.
The articulation of those new objects, symbols, images, and discourse, is of course made with the intention to tell a parallel story. Léo’s oeuvre is tinted with humor; he diverts the aesthetic of different areas of art. But this attitude is exempt of cynicism: it’s the attitude of a conscience that is detached only in the appearances and for which ferocity is, in fact, the choice of decency. Léo concerns himself with the relations between the production and consumerism in the arts, the industry and broadly human’s activities. The paradox is that he considers art creations as ideas and merchandise that are understood in the context of the consumer society and that are appreciations of it as much as condemnations.
Léo aims to transmit an objective vision of art within his practice. A non-illusionist and non-cynical production, where different references merge in a shifted way. His productions appear as a form of a society that magnifies the object, that keeps us between the claws of its own seduction system.
Gathered they seem to be elements of collections of remains of the industrial area, leftovers brand-new and smooth. Léo Luccioni’s reality constructs itself on this loop where what is rejected will keep coming back claiming its place, waiting for its presence to be felt by one conscience and for an intention to be dedicated to it.