Alexandre Bavard’s work must be seen as an exploration through the fields of science fiction, urban environment and fantasy. A multidisciplinary artist, Bavard appropriates and reinvents the imagery sourced from a universe of alternative codes and visions of anticipation. Through the amalgam, metamorphosis and re-injection of codes from various influences, mostly related to the cinema and graffiti as well as comics vocabulary he weaves new narratives that come to inhabit his artworks. Bavard questions the viewers’ reception and interpretation by setting up a frame for them to build their own visions, diverting references to allow the spectators to create their own fantastic ideals. With his series of films and performances dedicated to the signification of the gesture, from the street to the art space, the artist investigates the movement from the intuitive, almost automatic act of writing to the essence and collectively memorized iconology of the gesture, which can remind the eternal movement of the mind. The study of body expression is for the artist the keys to an introspection and reflexion about the relationship between one person to the environment, the question of the origins, destruction, creation and reinterpretation.
The "Bulky" project is a system of notation decrypting the movement generated by the tag. Bulky is thought as a choreography resuming the gesture in the action of graffiti, inspired by Bavard immediately recognizable letters and influenced by the Georgian alphabet. In the Video Bulky/Gallery P38 the body becomes an extrapolation of graffiti. The video depict together the movement of the brain and which of the body: the desire to deliver a message and the orders given to the hands of the artist as well as the omnipresent physical urgency to paint in the brutality of the street. Covered with veil and costume, the dancer find the same recourse to anonymity as in the tag approach, just as the same idea of a quasi-war- like appropriation of the choreographic space. This configuration is also found in SLOWMOMO where the artist is executing his movements in the street. In both films: in the street and in the gallery space, the immobility of the camera and the close frame surrounding the artist’s body in furious movements creates a counterpoint that translates the notion of internality vs externality (of thoughts, movements, …)
Alexandre Bavard exhibited in major institutions in France including the Palais de Tokyo.