Stripping the Superficial
Who influences you graphically?
I am mostly influenced by artists who draws without medium restriction. It can be fine arts artists like Giovanni Battista Piranesi, Alfred Kubin, Louis Soutter, Saul Steinberg, and David Hockney. I admire children books artists like Tomy Ungerer and also comic books artists like François Schuiten and Benoît Peeters. Their wonderful comic book “La Tour” was one of my biggest influence as a child. I also discovered recently beautiful drawings from the architect Claude-Nicolas Ledoux. I also love to look at etching.
How and to what extent have the environments of Paris and Berlin influenced the way you perceived and depict what surround you?
I don’t know really. The kind of suburban areas I draw aren’t specifically from Paris or Berlin. Compared to other cities, even skyscrapers are not so many. I associate Paris with small and narrow streets, traffic jam and stress. When I first arrived in Berlin I was quite impressed by the contrast. This city is far more wide and open, and has less inhabitants than Paris.
Through composition and colour you set up narratives and scenarios which would not be directly associated with specific objects. How do you construct an image? is it inspired by something you see, a piece of text?
It can be inspired by many different elements. Sometimes a dream – like in the drawing “the dream of the whale” – sometimes an inner vision, precise or not, an insight of a form or some geometrical pattern. It can be also a sentence in a book. Sometimes I just don’t know what the subject is till the piece is completely finished. The idea may changes during the process. I try to be open to all these possibilities.
Why the focus restriction to two colours?
First, I like the idea of creating with simple elements, in this case a paper and a pen, sometimes a ruler. I can carry these tools everywhere. I like the idea of creating a whole new world with just a basic one-colored pen. I also love etching, particulary the “Eau-forte” technique, which is based on color restriction. On the second hand, in the context of the “Blue Lines” serie, I was fascinated by the color blue and his particularities. I think that monochrome or at least two-chromatic pictures have a strong impact on the viewer, because they evacuate superficial elements and ornaments.
You mainly explore your images three dimensionally, why so? What power does the axonometric behold for you?
The purpose for the three dimensions is that I want the pictures to be immersive, in order to create a world that seems realistic in a certain way, though totally invented. To me, axonometric perspective creates also a point of view, as if the viewer is looking at the scenery from high above – like in certain video games. I expect this to be a reflexive point of view in order to let go of the viewer’s imagination.
Kevin Lucbert is a French artist born in 1985 in Paris. Awarded a diploma in 2008 of the National School of Decorative Arts of Paris, he lives and works today between Berlin and Paris. Member of an artist collective, the Ensaders, he participates regularly in performances, exhibitions and leads workshops of drawing. He also draws for the French and international press.