Born in Paris on December 30, 1978.
Influenced in equal measures by classical 20th century artists such as Modigliani and Léger, as by the Moroccan art of Zellige, (a form of highly decorative enameled terra cotta), Remed’s work has a unique, immediately recognizable quality in both its micro and macro manifestations.
Working at the conjunction of mathematics and calligraphy, seeking a harmonic purity combined with the flow, the energy of the line, Remed seeks to find truth through simplicity, to find a universal language of form and colour. Although now based in Madrid, Remed grew up in Lille alongside his close friend, and most common artistic collaborator 3TTMan (see pp.46-50). Following him firstly to after school art-classes and later to a college of the applied arts (where he studied “space-communication”), Remed was destined for a career in graphic design before a friend with whom he was studying introduced him to graffiti.
Two years on, and six months spent steadily decaying in front of a computer at a design agency, he quit his job after gaining an opportunity to work independently, teaching graffiti to children at various schools and social institutions (a role which can be seen to have come to a climax with his work at the Children’s Museum of the Arts in New York in 2011). Whilst Remed began to learn more about the history of the urban arts through this work, it was a chance meeting with the Algerian artist Mahjoub Ben Bella which became the first real turning point in his artistic journey.
As a first encounter with an artist who was living his life through the purity of his work, through a work unsullied by any commercial influence or even interest, Ben Bella gave Remed the belief to embrace his own ability, he thus starting to concentrate more seriously on his artistic work from this point on. By the time he moved to Sao Paulo in 2006, Remed’s artistic style had begun to shape into a form we can now clearly recognize.
Starting to produce more large scale murals, and developing a highly cosmological, highly spiritual visual language of his own, his work began to use a more heightened illustrative simplicity whilst at the same time developing a more keen complex narrativity. Whilst the Moroccan influence took hold through the fusion of geometric and calligraphic elements then (his figures almost disappearing within the vivid colours and flat patterning he had created), the intricate stories he wove into each of his images came to function almost like religious parables or folk legends, a densely embedded significance often overlooked through due to their decorative beauty.
Becoming equally obsessed with the relationship between mathematics and aesthetics, with the intertwined harmony of the world around him, Remed’s work can thus be seen to have become steeped in the balance and contrasts so prevalent within Islamic Art, a visual regime in which all parts of the image were involved in a search for synchrony, where nothing was left to chance.
Yet while his aesthetic experimentations were emerging from a very personal space (his urge to paint functioning akin to a “diary, a notebook of inventions, or philosophical essay”), so to they were attempting to transcend the self in an attempt to reach others.
Attempting to form a shared dialect, a language able to traverse social and cultural values through the founding of an almost primordial visual regime, Remed was attempting to communicate the classic themes and dualities of existence – life and death, illness and health, good and evil – working between figuration and abstraction so as to find a shared ground with those who were around him.
Since returning to Madrid where he has now settled, Remed’s work has continued to refine, developing into what is now an inimitable style. Whilst producing ever increasing series of paintings inside then, Remed has still kept up a strong presence in the urban environment, tagging, albeit in a now highly experimental manner, inscribing philosophical calligraphic messages (often in chalk) onto city walls, etching into metal, as well as both pasting and painting his more complex designs throughout the city.
For Remed, all of these activities are as important as the other, each an opportunity for performative release as much as communal exchange, each a chance to rhyme with colour and form, an occasion for both experimentation and communication. For him, art is simply understood as a way of healing the soul, of curing the mind, as a form of very public, outward therapy.
It is a the blend of science and soul, a way to cope with pain and happiness, love and hate, light and darkness, a remedy for life itself.
Remed by Remed
“I discovered the painting in a studio in my city, Lille in 1995. I have worked for a long time inside. I have always loved the intimacy and the silence of a studio.
However, I quickly felt the need to go beyond the limits imposed by the framework, but also to show my work. That’s why I started to interact with my environment by pasting stickers expressing my ideas then messages or witnesses on the walls using sprays. I finally got the chance to paint huge walls in really special places, beeing as much as possible aware of the context in which my paintings will evolve.
On the other hand, I continued my work on canvas. First I played with the image and the text, creating or interpreting icons often associated with letters or words. My paintings were
composed at the same time as the ideas took shape. They were already the seeds of the next, which ripened together would have a new meaning.
Today, thanks to the experience of the street which led me to synthesize my creations, and after having understood that the “spectator” does not give as much time as I dared to imagine at the observation of the work, I constantly simplifies the result of my work. So the spectator can actually feel something, to talk to him without my physical presence is required.
I create rhymes of colors, of shapes or of sounds to express an emotion, a feeling, or the evolution of a thought.
I paint like we write a diary, a book of inventions, or a philosophical corpus.
Each time, I do my inventory.
Art is for me the sincere union of science and Soul.
I live what I feel, I paint what I live.
Guillaume “REMED” Alby
2019 | « L’Art et le Dévot » David Bloch Gallery. Marrakech (Morocco)
2018 | «Ser. Entre Semilla y Ceniza. »| Delimbo Gallery. Seville (Spain)
2016 | « PLENIUM » David Bloch Gallery. Marrakech (Morocco)
2015 | « DE L’IMAGE A LA MAGIE ». Al Invernadero. Madrid (Spain)
2015 | « ESSENCE ». David Bloch Gallery. Marrakech (Morocco)
2013 | « EPIPHYSM ». David Bloch Gallery. Marrakech (Morocco)
2010 | « DUALITY ». Pretty Portal Gallery. Düsseldorf (Germany)
2010 | Pure Evil Gallery. London (UK)
2010 | Avia Previa Gallery. Bologna. (Italy)
2010 | Carrhartt Gallery. Madrid (Spain)
2007 | Paris Hotel Gallery. Rio de Janeiro (Brazil)
2007 | Galerie Géraldine Zberro. Paris (France)
2006 | Montana Gallery. Sevilla (Spain)
2006 | La Condition Publique Gallery. Roubaix (France)
2006 | Montana Gallery. (Barcelona, SPAIN)
2005 | La Maison Folie Wazemmes. Lille (France)
2019 |« TEMPLES ET AMES ». Duo show w/ Okuda San Miguel. Adda et Sarto Gallery. Paris (France)
2018 | Group Show . David Bloch Gallery . Marrakech (Maroc)
2016 | « ARTMOSSPHERE ». Moscow Art Biennale (Russia)
2016 | Hotel Sahrai. Fès (Morocco)
2016 | Delimbo Gallery. Seville (Spain)
2012 | Area3 Gallery. Johanesburg (South Africa)
2012 | Vijcnica Bibliotheka. Sarajevo (Bosnia)
2012 | Carharrt Gallery. Weil am Rhein (Germany)
2012 | CICUS Bellas Artes. Sevilla (Spain)
2011 | CMA Museum. New York (USA)
2011 | MASP Museum. Sao Paulo (Brazil)
2011 | David Bloch Gallery. Marrakech (Morocco)
2010 | GGG Gallery. Miami (USA)
2010 | Yellow Pants Gallery. Lisboa (Portugal)
2010 | ABV Gallery. Atlanta (USA)
2010 | Pure Evil Gallery. London (UK)
2010 | La Maison des Metallos. Paris (France)
2009 | SC Gallery. Bilbao (Spain)
2009 | FIAR Gallery. Madrid (Spain)
2009 | Transmission Gallery. Brighton (UK)
2009 | Ship of Fools Gallery. Den Haag (Nederlands)
2009 | Auction sell in Maison des ventes Leclere. Marseille (France)
2009 | Brooklyinte Gallery. New York (USA)
2009 | « PROPEACE ». Mf Wazemmes. Lille (France)
2008 | BWA, Modern Art Gallery. Wroclaw (Poland)
2008 | Emmanuel Sambroni Gallery. Rennes (France)
2008 | Pure Evil Gallery. London (UK)
2007 | Transmission Gallery. Virginia (USA)
2007 | Grafteria Gallery. Sao Paulo (Brazil)
2007 | Anno Domini Gallery. San Jose, California (USA)
2007 | « REMED & ZOSEN ». Expo in 85Gallery. Antwerpen (Belgium)
2007 | Galeria Luis Adelantado. Valencia (SPAIN)
2006 | « ART TREK SHOW ». Mekanik Strip Gallery. Antwerpen (Belgium)
2006 | « SKATE ». Tripostal. Lille (France)
2006 | « FEFE & REMED ». Memorial de Arte de Latina. Sao Paulo (Brazil)
2006 | Triad Gallery. Sao Paulo (Brazil)
2005 | « CHARMING SUICIDE ». ORO Gallery. Gotenborg (Sweden)
2005 | « REMED & 3TTMAN ». Subaquatica Gallery. Madrid (Spain)