Poised between art and graphic design, the work of Kévin Bray plays with transpositions of techniques from the field of cinema, the hybridization of media and original historical references. Formerly a graphic designer, this French artist, who now lives in Amsterdam, discusses his process and the ways in which he appropriates software in order to associate different modes of representation between surfaces and volumes.
It was at that point that I encountered the graphic designer and teacher Thierry Chancogne. He encouraged me to take a radical position and helped me incorporate conceptual expressions into my work. It helped me to figure out where I was going, to discover forms that were truly my own, even if they weren’t necessarily forms that interested me visually, or that were part of my esthetic training. I also discovered that it was possible to be a designer-artist, basically to produce work that was not always commissioned. All of this had a huge impact on me. Then I went on to do my Master’s at the Sandberg Institute in Amsterdam. The questions were more political there, and there was also a major focus on technique. For me, the tools are a sort of extension of language. Perhaps the simplest way of producing better images is to get to know many of them.