Léo Dorfner’s works of art act as a crystallization of the present. We live in a society that balances between the thin line of progress and tradition, and so does Dorfner; his works bridge the past and the present in a humourous and, often, corrosive way.

Léo Dorfner offers a punk approach that disturbs interpretations that are too polite.

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

With true critical potential, his movements never sacrifice the aesthetic interest of the drawing. Despite the impertinence of his subjects, his work has an undeniable poetic dimension. It is based on a taste for graphic experimentation and care for composition. Both are at the core of a plastic game 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 to which he invites us, reveal the impertinence of his vision and the capacity of the superimposed images to make sense, against all logic.