BIOGRAPHY

BIOGRAPHY of Guillaume ALBY aka REMED by Rafael Schacter.
Remed (Born in Paris in 1978, lives in Madrid)

“Influenced in equal measures by classical 20th century artists such as Modigliani and Léger, as by the Moroccan art of Zellige, (a form of highly decorative enameled terra cotta), Remed’s work has a unique, immediately recognizable quality in both its micro and macro manifestations. Working at the conjunction of mathematics and calligraphy, seeking a harmonic purity combined with the flow, the energy of the line, Remed seeks to find truth through simplicity, to find a universal language of form and colour.

Although now based in Madrid, Remed grew up in Lille. He firstly integrate after school art-classes and later to a college of the applied arts (where he studied “space-communication”), Remed was destined for a career in graphic design before a friend with whom he was studying introduced him to graffiti. Two years on, and six months spent steadily decaying in front of a computer at a design agency, he quit his job after gaining an opportunity to work independently, teaching graffiti to children at various schools and social institutions (a role which can be seen to have come to a climax with his work at the Children’s Museum of the Arts in New York in 2011). Whilst Remed began to learn more about the history of the urban arts through this work, it was a chance meeting with the Algerian artist Mahjoub Ben Bella which became the first real turning point in his artistic journey: As a first encounter with an artist who was living his life through the purity of his work, through a work unsullied by any commercial influence or even interest, Ben Bella gave Remed the belief to embrace his own ability, he thus starting to concentrate more seriously on his artistic work from this point on.

By the time he moved to Sao Paulo in 2006, Remed’s artistic style had begun to shape into a form we can now clearly recognize. Starting to produce more large scale murals, and developing a highly cosmological, highly spiritual visual language of his own, his work began to use a more heightened illustrative simplicity whilst at the same time developing a more keen complex narrativity. Whilst the Moroccan influence took hold through the fusion of geometric and calligraphic elements then (his figures almost disappearing within the vivid colours and flat patterning he had created), the intricate stories he wove into each of his images came to function almost like religious parables or folk legends, a densely embedded significance often overlooked through due to their decorative beauty. Becoming equally obsessed with the relationship between mathematics and aesthetics, with the intertwined harmony of the world around him, Remed’s work can thus be seen to have become steeped in the balance and contrasts so prevalent within Islamic Art, a visual regime in which all parts of the image were involved in a search for synchrony, where nothing was left to chance. Yet while his aesthetic experimentations were emerging from a very personal space (his urge to paint functioning akin to a “diary, a notebook of inventions, or philosophical essay”), so to they were attempting to transcend the self in an attempt to reach others: Attempting to form a shared dialect, a language able to traverse social and cultural values through the founding of an almost primordial visual regime, Remed was attempting to communicate the classic themes and dualities of existence – life and death, illness and health, good and evil – working between figuration and abstraction so as to find a shared ground with those who were around him.

Since returning to Madrid where he has now settled, Remed’s work has continued to refine, developing into what is now an inimitable style. Whilst producing ever increasing series of paintings inside then, Remed has still kept up a strong presence in the urban environment, tagging, albeit in a now highly experimental manner, inscribing philosophical calligraphic messages (often in chalk) onto city walls, etching into metal, as well as both pasting and painting his more complex designs throughout the city. For Remed, all of these activities are as important as the other, each an opportunity for performative release as much as communal exchange, each a chance to rhyme with colour and form, an occasion for both experimentation and communication. For him, art is simply understood as a way of healing the soul, of curing the mind, as a form of very public, outward therapy. It is a the blend of science and soul, a way to cope with pain and happiness, love and hate, light and darkness, a remedy for life itself.”

AUTOBIOGRAPHY  by Guillaume ALBY aka REMED.

“I discovered the Art of painting in a atelier of my town, Lille, in 1995. I have long worked inside. I always liked the privacy and quiet of my room or studio.

However, I quickly felt the need to overcome the limits imposed by the framework, and also the desire to show my work. That’s how I came to the street, that’s why I started to interact with my environment by pasting stickers expressing my ideas and messages or witnesses on the walls with spray. I finally had the chance to paint huge areas, in places often specials, being as much as possible aware of the context in which my tracks will evolve.

On the other hand, I continued my work on canvas. First I played with the image and text, by creating or interpreting icons often associated with letters or words. My paintings were composed, as and as the ideas took shape. They were already carrying the seeds of the following idea, which once have matured together would all take on new meaning.

Today, thanks to the experience of the street that led me to synthesize my creations, and because I’ve understood that the “viewer” does not give as much time as I dared to imagine to the observation of work, I always simplified the result of my work. This is so the viewer can actually feel something, being talked to, without my physical presence being necessary.

I make rhymes with colors, shapes and sounds to express emotion, feeling, or the evolution of thought. I paint as you write a diary, a notebook of inventions, or philosophical essai.
Art is for me the sincere blend of science and Soul.
I live what I feel, I paint what I live.”

MURALISM :

2012. Conception & realisation of 2 murals. Joburg. SOUTH AFRICA
2012. Conception & realisation of 9x16m mural. Ponta Delgada. AZORES
2012. Conception & realisation of 25x7m mural. Vardo. NORWAY
2012. Conception & realisation of 3 murals. London. UK
2012. Conception & realisation of 7x2m mural. San Benedetto. ITALIA
2012. Conception & realisation of 6x9m mural. Sevilla. SPAIN
2011. Conception & realisation of 20x10m mural. Lodz. POLAND
2011. Conception & realisation of 6x15m mural. Bassano. ITALY
2011. Conception & realisation of 7 murals. Maka Sutu. GAMBIA
2011. Conception & realisation of 16x8m mural. Poznan. POLAND
2011. Conception & realisation of 7x40m mural. Memphis. USA
2011. Conception & realisation of 16x9m mural. Leon. SPAIN
2010. Conception & realisation of 5x30m mural. Miami. USA
2010. Conception & realisation of 18x10m mural. Kiev. UKRAINE
2010. Conception & realisation of 40x80m mural. Atlanta. USA
2010. Conception & realisation of 5x9m mural. Ancona. ITALIA
2010. Co-conception & realisation of 6x15m mural. London. UK
2009. Conception & realisation of 15x15m mural. Novisad. SERBIA
2009. Conception & realisation of 12x5m mural. NewYork. USA
2008. Conception & realisation of 8x20m mural. Belgrade. SERBIA
2008. Conception & realisation of 20x5m mural. Cordoba. SPAIN
2008. Conception & realisation of 9x19m mural. Wroclaw. POLAND
2008. Conception & realisation of 9x21m mural. Curitiba. BRASIL
2005. Conception & realisation of 11x12m mural. Madrid. SPAIN

COLLECTIVE SHOW:

2012. Expo in Area3 Gallery. (Johanesburg, SOUTH AFRICA)
2012. Expo in Vijcnica Bibliotheka. (Sarajevo, BOSNIA)
2012. Expo in Carharrt Gallery. (Weil am Rhein, GERMANY)
2012. Expo in CICUS Bellas Artes. (Sevilla, SPAIN)
2011. Expo in CMA Museum. (NewYork, USA)
2011. Expo in MASP Museum. (Sao Paulo. BRASIL)
2011. Expo in David Blocc Gallery. (Marrakech. MAROCCO)
2010. Expo in GGG Gallery. (Miami. USA)
2010. Expo in MONTANA Gallery. (Lisboa. PORTUGAL)
2010. Expo in ABV Gallery. (Atlanta. USA)
2010. Expo in PURE EVIL Gallery. (London, ENGLAND)
2010. Expo in LA MAISON DES METALLOS. (Paris, FRANCE)
2009. Expo in SC Gallery. (Bilbao, SPAIN)
2009. Expo in FIAR Gallery. (Madrid, SPAIN)
2009. Expo in TRANSMISSION Gallery. (Brighton, UK)
2009. Expo in SHIP OF FOOLS Gallery. (Den Haag, NEDERLANDS)
2009. Auction sell in Maison des ventes LECLERE. (Marseille, FRANCE)
2009. Expo in BROOKLYNITE Gallery. (New York, USA)
2009. Expo in MAISON FOLIE  WAZEMMES. (Lille, FRANCE)
2008. Expo in BWA MODERN ART Gallery. (Wroclaw, POLAND)
2008. Expo in EMMANUEL SAMBRONI Gallery. (Rennes, FRANCE)
2008. Expo in PURE EVIL Gallery. (London, UK)
2007. Expo in TRANSMISSION Gallery. (Virginia, USA)
2007. Expo in GRAFITERIA Gallery (Sao Paulo, BRAZIL)
2007. Expo in ANNO DOMINI Gallery. (San Jose, California, USA)
2007. Expo in 85GALLERY. (Antwerpen, BELGICA)
2007. Expo in GALERÍA LUIS ADELANTADO. (Valencia. SPAIN)
2006. Expo in MEKANIK STRIP Gallery. (Antwerpen, BELGICA)
2006. Expo in TRIPOSTAL. EXPO “SKATE”. (Lille, FRANCE)
2006. Expo in MEMORIAL DE ARTE DE AMERICA LATINA (Sao Paulo, BRAZIL)
2006. Expo in TRIAD Gallery (Sao Paulo, BRAZIL)
2005. Expo in ORO Gallery. (Gotenborg, SWEDEN)
2005. Expo in SUBAQUATICA Gallery (Madrid, SPAIN)

INDIVIDUAL SHOW :

2012. Soloshow in DAVID BLOCH Gallery. (Marrakech, MORROCCO)
2011. Soloshow at PUREEVIL Gallery. (MLondon, UK)
2010. Soloshow in PRETTY PORTAL Gallery. (Düsseldorf, GERMANY)
2010. Soloshow in AVIA PREVIA Gallery. (Bologna. ITALY)
2006. Solosshow MONTANA Gallery (Sevilla, SPAIN)
2006. Expo in LA CONDITION PUBLIQUE Gallery (Roubaix, FRANCE)
2006. Soloshow in MONTANA Gallery (Barcelona, SPAIN)
2005. Expo in LA MAISON FOLIE WAZEMMES (Lille, FRANCE)

Guillaume ALBY, aka REMED.

“L’ART COMME REMÈD(E)”.