The French illustrator Denis Grrr, well known for his peregrinations in the circles of hell from which he tirelessly brings back hallucinatory visions, returns to us with a double topicality: an exhibition until the end of April in Paris entitled "Blood of Anger” bringing together his superb Bic rouge engravings, as well as the publication of an 'unreasoned' catalog at the publisher Zanpano. Unmissable.
First and foremost, it should be remembered that the expo is open during confinement. How do you go about coming to see her?
It's very simple, just make an appointment either by phone: 01 83 56 42 86, or by going to the Facebook page of Atelier Manjari Partners: https://www.facebook.com/AtelierManjariPartners Moreover, the exhibition is extended until April 30. There will also be two signatures, one on April 17 for the book “Chair de Fer“ and on April 24 for the luxury version of my monograph “Infernal” prefaced by Jean-Michel Nicollet.
Speaking of confinement, how did you experience this… particular period? Was she artistically productive despite everything?
Let's say that we are already self-confined in normal times, it's just the fact of not having the choice to meet people in a bar for example or to organize openings. In terms of production it doesn't change much for me.
It seems to me that this exhibition highlights a work started a while ago, even before your previous collection dedicated to the First World War "Flesh of Iron "?
After the heavy load of this opus of iron and blood, it took a funny valve for me to extricate myself from it. I have in my possession some small engravings from the mendiants series by Jacques Callot (1592-1635.) And the idea of continuing in the spirit of the Cours des Miracles with characters like “Marylou la Mérou” by integrating them modern elements appealed to me. Strangely, while documenting myself, I rediscovered some biblical subjects and other deadly sins, so it quickly escalated!
The 7 deadly sins are precisely an inexhaustible source of inspiration for you, which you have already had the opportunity to discuss.
I felt that I could refine the subject because of this in-depth technique. After those previously painted - in 2003 - at Cantada II, the famous Parisian R'n'R bar, and published in 1990 for a role-playing game, I wanted to insist on testing myself. It was at the same time the opportunity to pay a form of tribute to Mickey (former boss of Cantada, editor's note) alas disappeared, R.i.P. As for the rest, I wanted to draw on the classic theme (Salomé, La Grande Prostituée, the dance of death, etc.), to confront it through derision (Schôn) or denunciation (La Pureté, Irene) . Without forgetting the infernal “Boshien” elements in certain sins. By observing these master engravers like Schongauer Matham, Goltzius, Jode, Bruegel, Holbein, Aldegrever ... we realize that we have not invented anything. I am just an iconoclast, a ferryman who transmits the reflection of a temptation, of a pride, of the lust of life and the gluttony of laughter. In short, human reality.
Bic black for "Flesh of Iron" and red for these drawings, which take place in a completely different period, is the color used here to distinguish the universes?
When I met Jean-Marie Vives from the Manjari & Partners gallery at the time of a collective exhibition, I showed him “Astor, Reine des Trompettes des Morts” at the Bic rouge medium. The good surprise was that he offered me an exhibition in stride with this medium. It was over two years ago. Ivory-colored papers then prevailed, especially with this blood red / garnet ballpoint pen ink, because it insists on the carnal side despite the very incisive engraving style.
So these drawings are a tribute to the master engravers of the 16th-17th centuries?
Modestly and absolutely! It is a rather incredible period when lightning and flesh are torn apart in more or less original sin, against a background of infidelity, murders, exasperation of feelings, sabbatical hysteria, dismal omens. In the whirlpools of the seething human soul, in the apocalyptic spunk of the Iconoclastic Icon Revelation! And then, of course, there is this incredible work of woodcut, this finesse of the chiseled gesture. What also pleases me in Renaissance printmaking is the off-screen, where something happens: it can be a landscape, a scene or the presence of a symbol. So I took the opportunity loosely to integrate it with my funny visions. For Sloth, there is a donkey (its symbol) attached to a balloon which does not move one (although at the beginning of its erection) while smoking its rod. Or Adam, out of spite, bakes himself at the foot of the tree of knowledge.
You push back once again the limits of the possibilities of Bic. The drawings are mind-blowing in detail.
It’s certainly a new expression on my manic side, present since my beginnings. But with the ballpoint pen it's worse! It is a spontaneous work which does not forgive, it is not necessary to miss it; like a tattoo for that matter. Bic ink is very difficult to cover.
What difficulties represent this work in red compared to that in black?
None, except that the brand Bic medium changed the ink of its "crystal" pens, it became much redder, forcing me to order a stock in England. The English are still arriving …
Your news is also a book from Zanpano, can you tell us about it?
Absolutely, it is a kind of retrospective with unpublished works fleshed out by a notebook of pencils printed on a different paper. I wanted a 24x32 format to put some album covers, as big as possible, in particular the two legendary Masters of Brutality (Roadrunner) compilations never released in vinyl. They join other more recent ones, of course, from which I have removed the group lettering. I also put pictures of t-shirts, role-playing games, posters and my work today in ball-point pen and felt-tip pen, along with its 'unreasoned' catalog. This book is dedicated to Mickey Maouss thanks to whom I started my career as an illustrator with a 45rpm cover. of his HxC group in 1987. Finally, I had the honor of Jean-Michel Nicollet, eminent illustrator of devils (also professor of drawing in Lyon of P. Jozelon and JL Navette) whose technique and subjects to horns invoked by witches strapped in leather on the night of Walpurgis (the date on which the exhibition will end) inspired me a lot, preface this book. And as I like the book, the object, we added a numbered and signed 100 copies including a very X portfolio nested in a beautiful box. Useful links : - Infos Expo, tarifs des originaux, tirages et portfolio : https://manjari-partners.com/portfolios/denis-grrr/ - Le livre “INFERNAL“ en 2 versions (luxe 100ex. et normale) direct chez l’éditeur : http://www.zanpano.com/catalogue39.php - www.D-GRRR.com
