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Introducing Anthony Peskine

Ana Lee interviewing Anthony Peskine for I V Y paris

I met with young artist, and ENSBA graduate, Anthony Peskine this summer, who was kind enough to share his ideas and inspiration behind his work. Peskine works in all mediums, and has personally made me laugh, and then...think about what I was laughing at in the first place.

See his latest pieces now through October 15th at Jeune Création in La Villette.

I V Y - How did you get started / What's your background?

Random7 I was raised in an art oriented family. My father is an architect and my mother always transmitted music to my brothers and me. It was natural that I'd make a living with something artistic, though I didn't know at first I would call myself an "artist".

I wanted to draw comics, and then make animation. But proper art was that space where any idea I had could come true and be shown. Whether it is video, photography, sound pieces or any other form of expression.

During my studies, I focused more and more on not focusing on a single technique, which eventually turned me into a multimedia artist. Moreover, my brothers, Vania, Alexis and Adrien got involved in art-oriented careers. I naturally followed.

  I V Y - How did your exchange program in Japan effect your work?

Japan was good for thinking. I realized that showing myself in several impossible situations made me deal with society more than I thought I would.

Being a westerner in Japan, one realizes how identity is as important as time. It also made me think about my condition, whether I wanted to be a lonely artist or not. So I work a lot alongside with other artists.


I had a project for a couple of years with artist Nazheli Perrot called "the blood next door", another project with artist Cyril Aboucaya called "George" (featured left).

I also discuss a lot with artist Berengere Henin and of course, my brothers Alexis and Gystere are my greatest associates.

Apart from that, Japan was really good for technique. I learned a lot about photography at the Musashino Art University.

Another thing is how important it is to be correctly understood. Universality became an aim from that time on since nobody really spoke French or English in Japan.

- What differences did you notice between the French and Japanese way of
approaching art?

Teaching art in Japan was way more technical. You could feel that people were there to learn a job, whereas the Beaux Arts in Paris taught us how to understand our work and Art in general.

I V Y - What does your work involve? Where do you draw your inspiration?

My work involves the images we know and the disappointment one can endure by trying to follow promises; those promises contained in advertisement, movies, messages... By trying to look like the images surrounding me, I stage the disappointed man facing the terrible "you'll never get there" truth. It all comes from known situations one can meet everyday; and eventually it gives way to unexpected, weird, biased images. Seeing my work, you laugh at first, then you realize something's wrong, and then you might think.

I V Y - Future projects?

Poisson "The blood next door" has to spread its wings and fly to an exhibition space. I am also discussing with artist Berengere Henin about installations in everyday life, so that art can be a surprise and a real experience for everyone. Of course, if you look well on Paris' billboards, you might see some "ou pas" signs.

The rest is exhibitions : one in Mains d'Oeuvres "Mieux vaut être un Virus que tomber malade" running till october 26th and "Jeune Creation" starting at La Villette on October 10th. The end of the story is on my website www.anthonypeskine.com.

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