Diplômé en 2015 de l’École des Beaux-Arts de Marseille Néfrit est actuellement résident de la cité d’artiste de l'ancien couvent Levat initiée par l’association Juxtapoz. Il y développe une pratique entre peinture murale et travail d’atelier.
Celle-ci s’articule autour d’un langage visuel structuré, optimiste et volontiers grotesque. Il réalise des travaux souvent figuratifs ou il donne corps à des personnages par des jeux de découpes et juxtapositions. Rarement uniquement peintures ou uniquement sculptures il propose des pièces hors cadre, où textures, motifs, gestes et fragments récoltés s’entremêlent et se lient, creusant les strates d’un questionnement technique éclectique et permanent.
Entre jeux d’enfants et mythologies se construit pièce après pièce un univers à cheval entre passé lointain et présent corrompu, se déployant sous forme d’oeuvres à la fois artéfacts anachroniques et innovations indéchiffrables.
Nefrit graduated from the ESADMM , Marseille in 2015. He is currently resident artist at the Ancien Couvent Levat in Marseille, a project initiated by the Juxtapoz Association. For his residency, Nefrit is developing a practice that spans mural painting and studio based work.
Through a visual language that is structured, optimistic and gladly grotesque, Nefrit’s works are constructed through a process of layering. Going beyond painting and sculpture, the artist creates artworks that exist outside of the frame. Textures, motifs, gestures and fragments intermingle and bind, digging deep into the strata of his ongoing technical concern.
Between children's games and mythology, he builds piece by piece a corrupt universe. One that exists between a distant past and the present, realised in the form of works that are both anachronistic artifacts and innovations that are impossible to decipher.
Through a visual language that is structured, optimistic and gladly grotesque, Nefrit’s works are constructed through a process of layering. Going beyond painting and sculpture, the artist creates artworks that exist outside of the frame. Textures, motifs, gestures and fragments intermingle and bind, digging deep into the strata of his ongoing technical concern.
Between children's games and mythology, he builds piece by piece a corrupt universe. One that exists between a distant past and the present, realised in the form of works that are both anachronistic artifacts and innovations that are impossible to decipher.