Original digital print from watercolor

H.73,5 x W.60,5 cm

H.89,5 x W.76 cm (with frame)


1973 Born in Toulouse, where he still lives.

1988 Tilt is 15 years old and does his first tags on skateboard ramps.

1998 First (collective) exhibition, during the Biennale d'Art Contemporain Place Belcourt, in Lyon.

2005 "Egodrips" exhibition at the Disrupt gallery in Auckland (New Zealand) and "FeTiltism" at the Reffill Space in Sydney (Australia).

2010 He realized his very first installation Panic Room, in the basement of the Celal gallery in Paris: reconstruction of a hotel room covered with a chaotic accumulation of tags and flops (bubble-shaped lettering, painted in a single stroke).

2012 New Panic Room, this time in a hotel room in the Panier district of Marseille.

2013 "All you can eat", solo exhibition at the Fabien Castanier gallery in Los Angeles.

2014 Participation in the YIA art fair, with the Wallworks gallery, Paris.

2015 "Spectrum", the new Panic Room versus a Banksy collection, in Christchurch (New Zealand).

Libération 2016


By Tilt (1973, France)

"I decided to approach this cover through the prism of double reading, with or without context. It's an approach that I work a lot on in my works: imagining the double existence of the same subject, the same object, etc. "I decided to approach this cover through the prism of double reading, with or without context. Here I see two things. First, of course, a disgusting social phenomenon: kids who are kidnapped, a mafia that exploits them. And then, when I decontextualize the image and forget the title, I see something else. An evocative staging, a particular iconography, an atmosphere, in short: an erotic image. It is the heels that, in my case, trigger this second reading. I am a fetishist in the soul and in practice. I've been collecting high heels for a long time. Also, behind this terrible image, I grasp something visually sexy, attractive. It's very taboo what I say, I'm aware of it. But I fully assume this choice to look only at the form, to defend a purely plastic and fetishist bias, rather than a political one. And to deliberately zap the substance. This decision to decontextualize has to do with my relationship to the news. Current events remain very much on the bangs of my work. I have always kept it at a distance. I would even say that I run away from it. In my artistic practice, I still haven't found the way or the desire to talk about the present time: I'm more of the nostalgic, even passéist type. My ideal? The graffiti of the 70's in Soho, New York. I'm also suspicious of the way current events are treated today. Take the attacks of November 13. It was, in my opinion, a great moment of over-mediatization, the effects of which are not insignificant. First of all, there is the fear that this over-mediatization of terrorism generates. Put under pressure by this flood of information, we all have the impression that the next salvo of kalach' is for us, that it awaits us at the next street corner. Then there is the patriotic discourse it conveys. All of a sudden, BFMTV or even Facebook become the place of an exacerbated patriotism that I personally would really prefer to stay away from. My intervention on this front page focuses on this pair of heels. I reinterpret it with my calligraphic accumulation style, which tries to break the figurative and decorative street-art. For this, I had to change support: spray painting needs large format! So I painted my subject on a large canvas, then I changed the scale and mounted it on the front page of the Libé. »