"I'm waiting for a place and an image to meet"
While studying at the Arts Décoratifs de Paris, he formed a group with whom he began by doing silkscreen printing. Motivated by the desire to create images inspired by free figuration, they met Jean Faucheur, who was already practicing collages on large billboards. With him, they then set up in 1984 a collective of seven artists: the Ripoulin Brothers.
Painting on all possible supports then becomes their means of expression : impulsive and parodic, it is inspired by pop culture. On the street, the size of the billboards and the competition with advertising images prescribe certain graphic choices such as the use of flat areas and wide rings.
The discovery of Keith Haring was a real overturning. During his stay in Paris, Haring painted a poster in their studio and pasted it on one of the 22 billboards in the Dupleix metro station invested for the occasion.The media are interested in this new form of street art and Agnès B, who has just opened the Galerie Du Jour, offers them their first exhibition.The New York gallerist, Tony Shafrazi, eager for novelties, also offers them an exhibition. During his stay, OX is struck by the emergence of graffiti and by his fleeting and memorable meeting with Andy Warhol.
In 1985, 40 artists took part in a giant collage in Paris, followed by two group exhibitions in 1986 and 1987, wisely named : "The media painters" et "The TV nuts". After that, each exhibited simultaneously in Parisian galleries. It was then OX's first solo exhibition in which adhesives replaced acrylic.
Until 2001, OX exhibited his paintings in Parisian galleries while continuing to operate occasionally on billboards.
Decorative and ironic, close to abstraction through subtraction where the diversion of signs, his painting, impregnated with commercial imagery, revolves around the notion of aesthetic shock.
Since 2004, he has been experimenting with a contextual relationship between his work and the environment. This approach, which establishes a playful dialogue with the public space, becomes the key of his production.
In 2005, he met up again with Jean Faucheur who federates a movement of young urban artists and participates with them in large-scale collage operations.
It was also at this time that the Internet marked a turning point in his artistic practice. By allowing him to disseminate his images widely and to confront them with other artists, he finds a less solitary form of work and discovers a kind of virtual emulation.
Since 2010, in addition to his street work and gallery exhibitions, he also participates in urban festivals and in situ installations.