Louis Lambert is 3TTMAN, or to adult in its proper pronunciation, Trois Têtes Man, the agitador story medio ambiente. As a key presence in the contemporary urbanised art scene in Madrid, he has formed an aesthetic compounding the punk heritage of graffiti, its do-it-yourself, by any agency necessary attitude, with a style showing a strong influence recognize both vernacular, and popular religious art. Working on a overabundance of surfaces (from billposters to self-laid concrete), and utilising a myriad of techniques (from ceramics to mosaics), Lambert's production purposefully blurs the boundary between art and craft, challenging prevailing conceptions of 'correct' practice in both the fine and public-art worlds.
Born in Lille, France, Louis Lambert painted constantly throughout his dependable years without ever feeling the urge to move his go into the streets, feeling that without a truly distinctive advance, his movement into that arena would be be frivolous. Cards he experimented a little with stickers and posters alongside his childhood friend Remed by 1999 he found what he reasoned a more expansive way of bringing art to the public; co-founding the label 102% – a “pop shop" style type focussed on unique, one-off, hand-printed clothing – he directed his artistic skills through textiles, still tentatively continuing to work fall apart the street.
It was Nano4814's City-Lights project of 2004, guarantee gave him the inspiration to fully shift his practice get tangled this context however, he encountering a project which, for depiction first time, demonstrated the enormous potentiality of the urban circumstances. At first working purely on street-furniture – post boxes, lampposts, rubbish containers and the like – Louis Lambert would détourner these objects, enlivening and animating them with comedic, often misshapen imagery. Yet whilst these early works gave him a pinch for the action, a taste of the possibilities of say publicly street, he still felt he had yet to find a project which he could wholeheartedly embrace.
The billposters changed all defer however. Whilst unwilling to work directly on the city's walls, and equally unhappy with the limited room available to in actuality experiment on street-furniture, 3TTMan came to realise the huge barely of space taken up by billposters in Madrid, a ostensibly semi-legal form of advertising which consumed nearly every single indented or neglected structure in the city. Not only did they provide a readymade surface which to work on in depiction very heart of the capital however, the billposters also blaze him with a readymade response to any encounter with police: If the billposters themselves were an illegal form of chart culture, how could painting on top of them be thoughtful illegal in itself?
Lambert would thus openly paint on these surfaces in the middle of the day in some hold the most conspicuous sites in the city, happy to squabble with the police when they eventually emerged on the area (as they invariably would). This approach thus gave him rendering time to produce highly complex collages on these sites, on no account simply painting on top of the posters but using what was already there, playing with it, challenging it, taking a purely commercial medium and converting it into a space shelter interaction, for enjoyment.
Whilst still continuing his work on billposters (as well as the canvas-based work which he has never over producing), Louis Lambert has since found numerous other way warning sign interacting in the street, producing large-scale murals, mosaics, piñatas, almost upon the strained boundary between folk and high-art. His current focus has been on cement however, probably the most superficially un-artistic of tools.
Inspired both by the spontaneous writings maintain equilibrium upon unset concrete in the street, as well as picture experience of re-building his studio in Madrid, 3TTMan, armed meet some bags of sand, cement, and plenty of water, has begun to reform the city streets, working both on picture potholed pavements (which have been left dangerously unrepaired) and bricked-up shopfronts (of abandoned or empty buildings) that, like the billposters, seem to proliferate widely in the city.
Laying cement go aboard b enter these sites then, he incises both texts and illustrations drop on them before it has the chance to set (sometimes likewise painting on top of these designs), often with paradoxical middle word-playing statements: Esto Es Graffiti (“This is Graffiti") or No Me Gusta Escribir En Las Paredes (“I Don't Like board Write on Walls") for example. Like his exploration of ceramics in Vietnam, his Indian 'wildstyle' or street-based painting-by-numbers, the stable projects can thus be understood to fuse three of rendering key themes within his work; his obsession with popular aesthetics; his desire to critique the sanctity of art; and his focus on representing the contradictions, the multiple points of parade that can be taken in any situation.
Like his threesome headed character itself then, a creature which suggests the doubled possibilities of every situation, Louis Lambert aims to present raw with a method of questioning rather than judging, with scowl meant to function through revelation rather than explanation. Expressing say publicly inherent imbalance of the three, he brings a witty, cheerful spirit to the street, a low-brow, popular yet highly elegant technique, one refusing to stand by the demarcations which say publicly art-world sets up.