Léo Dorfner offers a punk reading that disturbs interpretations that are too pious.

His reapropriation of media representations, advertising icons, snippets of everyday life and visual memes creates a rock mythology of the contemporary that is as incredulous as it is undisciplined. Borrowing and quoting, ordering and tagging, he shapes fragmented, often absurd and anachronistic narratives, in which PJ Harvey comments: “Art history, Greek statues opine on social debates and magazine pin-ups proudly display their tattoos”.

With a real critical potential, his movements never sacrifice the aesthetic interest of the drawing. In spite of the impertinence of his themes, his work has an undeniable poetic dimension based on a taste for graphic experimentation and care for composition, at the heart of a plastic play between the texture of the paper, the quality of the line, the nuance of the colours and the possible use of colour, the nuances of the colours and the possible legends that illustrate them. The urban stories he invites us into reveal the impertinence of his vision and the capacity of superimposed images to make sense, against all logic.