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The pseudo identity of human groups

It appeared to Lord Wilmore that the pseudo identity of human groups systematically led to the same disasters.

At best  : conflicts.  At worst  :  war.

Affirmations of the type "  I am Christian  ","  I am Muslim  ","  I am Jewish  ","  I am white  ","  I'm black  ","  I am red  ","  i am yellow  ",  etc ... almost always lead to bloody and deadly catastrophes.

According to Lord Wilmore, it is the appropriate response to this question of the identity of groups that will allow, among other things (the global ecological crisis, the possible wanderings of robotics, the virtualization of social relations ...), survival of our species.


Lord Wilmore is working on several concepts asking the same question more or less directly  : "  Is the identity of human groups only a dangerous illusion?  ?  "



Peinture numérique imprimée sur Chromaluxe - Amazing Duck - Lord Wilmore

The Bow Tie Duck

One of these concepts is expressed through the Bow Tie Duck.

This duck with a bow tie, depicted in a minimum of lines, is a character that is both lunar and transparent, allowing the viewer to fully project himself into the work.

Having no eyes, no mouth, no facial features, he invites the viewer to identify completely with this form. Viewer who has no other choice but to project himself into his own character, that is to say  : each and every one of us. A bunch of different identities ...

At least 7 billions identities.

The identity of human groups would therefore be an illusion  ?

The only group identity that could be valid in the long term would be to admit: "  I am human  ". All unique, but all united in one humanity.

We will see where it all takes us.

Peinture numérique imprimée sur Chromaluxe - Bow Tie Duck Diamonds - Lord Wilmore


Post-internet artist in essence, Lord Wilmore is unambiguously a post-digital artist. Indeed :  either Lord kills the pixel by reinterpreting it in acrylic on canvas, or  he materializes it  once and for all in aluminum  Chromaluxe.


Art deconstructed painting until his death. Lord sounds the death knell for color. Laughing at ultra pop, daring to uber glam, and uncontrollably flirting with overkitch, Lord brings the digital image back, in what it has in-print and intangible, to the solid material.

Lord captures colors never materialized for 200 years in sublimated aluminum. Ultrachromatic vibrations resonate with those of the viewer.


In an apparent joie de vivre varnished with mastered naivety, his works almost permanently refer to the civilization of too much marked by an unprecedented vanity and question us about the chances of survival of our species.


Haunted by the possible collapse of humanity, he centers most of his work on the identity of human groups.



Peinture numérique imprimée sur Chromaluxe - No People Monk - Lord Wilmore


The No people

Another concept is developing in the No People series.

In No People, we never really recognize with certainty the real identity of the characters.

Most often filled with black, they become impersonal, and thereby deny the validity of the identity of groups.

Peinture numérique imprimée sur Chromaluxe - No People Pieta - Lord Wilmore

The "De Staëlization"

Fascinated by the work of Nicolas De Staël, Lord Wilmore, in a tribute from artist to artist, explores the possibilities of interpretation of a painting flirting as often as possible with the border of the country of "abstraction-figuration" .


Sometimes misled by a title, this digital no man's land leaves the viewer with the initial questioning of identity: what is she looking at, what is he really looking at? A woman, a man, a dancer, a top model? ... or paint stains?

The "De Staëlization" goes beyond the previous concepts, in that it almost raises the question of the very identity of individuals.

From when do you become an "individual"?

Because, come to think of it, everything blends into an original abstraction.

Peinture numérique imprimée sur Chromaluxe - De Staëlization Garbage - Lord Wilmore
Peinture numérique imprimée sur Chromaluxe - De Staëlization Dancing Queen -g Lord Wilmore
Peinture numérique imprimée sur Chromaluxe - De Staëlization - Lord Wilmore

Post digital works in acrylic on canvas: why?


In a constant concern of "  pixel kill  », Lord Wilmore tries an unprecedented experiment: to create digital works to interpret them in the material not by a technical process involving the advanced technology of sublimation on Chromaluxe® but with his own hands armed with brushes, acrylic colors and street artist markers.


A painter in short?

Not quite: these painted works are not a return to the sources of secular pictorial art, they are post-digital. All the acrylic paintings on canvas that you see here are first designed with digital techniques (computer, tablet, graphics software, etc.). It is Lord Wilmore, the man of flesh and blood, who, in a second step, translates them in a gesture filled with human vagueness. Bravely trying to end the digital dictatorship, Lord gives humanity another chance in the face of the machines' seemingly inevitable takeover of our species.


These works come from several concepts developed by Lord Wilmore from 2016 until today.

The majority comes from De Staëlization, but a few Bow Tie Ducks have slipped into the lot, as well as other concepts such as Videogamestars, Censorbars (censorship bar hiding the eyes of the characters) or the Visual Identity of the Archangels.

Finally, we will note in the work of the artist, and that without too much intellectual fatigue, the absence of a unique visual style supposedly guaranteeing coherence.

The unique style police have of course been trying for several years to stop Lord Wilmore in his stylistic multiplicity, without success. 

Because, if the style is the man, the man is multiple. 

Like Lord Wilmore.

And like you.

3 Ronins in situ copy.jpg
Black Notre Dame Post Digital Lord Wilmore
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