Léo Dorfner offers a punk reading that disturbs interpretations that are too pious.

His reappropriation of media representations, advertising icons, snippets of everyday life, and visual memes creates a rock mythology of the contemporary that is as incredulous as it is undisciplined. Borrowing and quoting, ordering and tagging, he shapes fragmented, often absurd and anachronistic narratives, in which PJ Harvey comments on art history, Greek statues opine on social debates and magazine pin-ups proudly display their tattoos.

With true critical potential, their movements never sacrifice the aesthetic interest of the drawing. Despite the impertinence of his themes, his work has an undeniable poetic dimension based on a taste for graphic experimentation and careful composition, at the heart of a plastic play between the texture of the paper, the quality of the line, the nuance of the colors and the possible use of color, the nuances of the colors and the possible legends that illustrate them. The urban stories he invites us into reveal the impertinence of his vision and the capacity of superimposed images to make sense, against all logic.