2015 « Rizoma » Museo de la Ciudad, Queretaro, Mexico
2015 « Détours » De Piano Fabriek, Brussels, Belgium
2015 « Huellas del tiempo » Lesbrouss’art Gallery, Brussels, Belgium
2015 « Prisme » Pyramid, Brussels, Belgium
2014 « Séquences –VAO group show » La Vallée, Brussels, Belgium
2014 « El Agua no se vende» Museo YAKU, Quito, Ecuador
2014 « Ciudad de Cruces »No Lugar, Quito, Ecuador
2014 « 124collection» Molitor, Paris, France
2013 « Incantations » L’Ancienne Nonciature, Brussels, Belgium
2013 « Les Bains » Residence of artists, Magda Danysz, Paris, France
2013 « 400ML Poem’s »-798 District, Beijing, China
2012 « White Wall »Beirut Art Center, Beirut, Lebanon
2012 « Art on Paper »White Hotel, Brussels, Belgium
2012 « Holy Pixacao’s »Bibliothèque Royale de Bruxelles, Belgium
2011 « Kosmopolite »M.U.B.E, Sao Paulo, Brazil
2011 « Logogrammatical »La Maison du Livre, Brussels, Belgium
2011 « Dehors » Musée d’Ixelles, Brussels, Belgium
2010 « Question Tag »Cosmopolis, Nantes, France
2009 « Arts Urbains etc. »Parc Chanot, Marseille, France
2008 « knight Light »Atelier210, Brussels, Belgium
2007 « Amis pour la ville »Espace Art22, Brussels, Belgium
2006 « Under attack »Botanique, Brussels, Belgium
2004 « L’Art transgréssif des primates modernes » MJA, Brussels, Belgium
PAROLE is a self-educated artist, refusing to be assigned or confined to the title of expert or specialist. His work is multi-faceted, at the cross roads of culture, and draws upon the use of many skills and tools.
He conceives his work like a collective history, with meetings and partnerships, both sharing and resisting. He basically acts like a man with no boundaries; turning left and right, bobbing up and down.
PAROLE reflecting upon meaningful distortions
Developing spontaneous writings, more gesturally than textually, twists, reforms, knead and mixes up the letters enough to make them illegible. It turns them into an opaque of all the readings, makes them resistant to codes of status, and produces inter-subjective communication conventions.
These successive transliterations render the original text different to what it was once. Rather than providing the original text with meaning, they instead fact render them open to interpretation and to interpellation. Such work can also be read to be representative of some sort of visual music with complete with beats and breaks in a clear rhythm.
Bursts of spontaneous speeches empty of ‘foil’, a product of unpredictable emotions and of the clashing of letters that produce something new. This approach is at the cross roads. In the form of a knot, draws reference to between the different forms of understanding and taking ownership of our world.There is spiritual and sacred feelings and meanings in these writings and in its relationship with art, with life.
Ultimately we not can dissociate its calligraphies, its urban flaneurs, and its graphic ramblings.It is the public and political dimension of his art that ‘references’ semiocratic problems of public space and the paradigms of our time.