Ronald Plasticien
My artistic practice has two main strands:
Painting and coloured graphics, which allow me to play with the materiality and symbolism of forms. Live video, an immersive medium that directly questions the visual flows of our time.
My starting point is the multimedia universe, social networks and the mainstream media, whose influence has been amplified by technological development and the exponential spread of content. These dynamics raise a number of questions, not least that of copyright and its obsolescence in the face of the multiplicity of media and copies. Reflection on Copyright and Property
Distribution platforms have rendered obsolete the notion of a single property right. As a result, the average consumer can find himself in an illegal situation by using, transforming or reproducing a simple image. This tension feeds my artistic thinking.
I often appropriate iconic or banal images that have been widely disseminated and viewed, diverting them from their original meaning. Using image-processing software, I breathe a new narrative into them, giving them a second life. This process questions our relationship with images and our right to reinterpret them.
A Post-Capitalist Vision
Although I am part of my time, I place myself on the fringes of the system, in a posture that goes beyond established frameworks. I claim to belong to the PostKa (post-capitalist) movement, because I believe that art should be as much a vehicle for political awareness as a space for poetry and conceptual reflection. Far from being mere entertainment for a social elite, art, in my view, is a disruptive and accessible force.
In this spirit, I use walls and other supports as a free and infinite medium, to display a talent that is resolutely out of the ordinary.
Image and Mass Consent
I explore the evocative power of images and video in the construction of mass consent. Using digital technology - smartphones, computers, video, software - as well as more traditional tools such as pencils and markers, I seek to highlight the plasticity of the collective imagination.
Self-reduction and gleaning are at the heart of my practice, acts of creative resistance to the standardisation and commodification of art. These techniques, combined with my reflections, open up spaces of freedom where the image can be reappropriated, transformed and shared to raise a critical collective consciousness.