No Man’s Shore
Born in Paris, SPHRS gets precociously into socio-politic concerns, where he finds himself across mindkind, using art as a tool, a path. After graduating in Phylosophy at Montaigne University and art at ENSAD that he defines as the deceptive form of contemporary education, worried by the modern concern and reflection leaded by the evidence of human slavery, the artist remained in the belief of a world leaded by fear and scarcity instead of obvious perfection in Cosmic manifestations.
1998, first exhibition, when contemporary art was evolving in parallel of modern society to self destruction. He develloped a methodology, the No Man’s Shore, to define the globalisation of concept that brings to destruction from slavery. In the SPHRS’ process, there’s three different media that follows the No Man’s Shore satement against global moral slavery, Painting, Instalation and Soundscape.
The No Man’s Shore is a focalisation based on qualitative observation of modernity. From his secluded position of the loner, the artist built a map from the socio-politic analysis illuminated by the mysanthropy and the observation of contemporary manifestations. SPHRS developed the idea of thinking the destruction as the engine of Modernity.
“The artist is the figure of the monster, the one who shows what has to be seen. He is a door to perception, anticipation, to reach the truth. It can be facing the dark side of civilization, a territory where ideologies are producing mystifications: History, Philosophies, Sciences, Sociology, Technologies, Languages and Myths are the technologies of human slavery. The position of any artist is to provide the key to awakening.”
SPHRS left the hideaway in December 13th, 2011 and after traveling in Eurasia decide to settle in Seoul to develop and improve his work.
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Top left: VOIDSCAPES 0 – Bones, fuel oil and lacker, 1998.