Léo Luccioni is a young artist based in Brussels. He received his master’s degree in printmaking in 2017, from La Cambre, the National School of Visual Arts (ENSAV), in Brussels, and won the Prix Laurent Moonens in the same year. In
2018, he took up residence at the Moonens Foundation.His work with the printed image has evolved into a transdisciplinary approach; and he now brings all mediums into play to form symbolic narratives. He invents different meanings,
characters, and temporary destinies from everyday objects and questions the status applied to symbols by our societies. He instigates relationships between heterogeneous concepts through a process of displacement and association,
misdirection and copying. His approach is a tendency to archive the era by compiling and transforming its “appurtenances” thus making it heir to the present.
I am torn between my passion and my rejection of human productions; I am disoriented by the ephemeral values that we give them. I strive to understand the mechanisms implemented in a society that surrounds and incorporates me; especially
the relationship sustained between the production and consumption in the field of art and of industry. I seek to create a bridge between materials of the past and of the future, between historical indicators, between opposing fields,
and between my aspirations and those of the world. I use a global vocabulary, as much to offer a singular viewpoint as to play on the incongruities of contemporary society and the recurring, underrated forms they take. I try to
reinterpret this common matter and to inscribe it in a new temporality. This mystification of the present created from new objects, symbols, images, and discourse is reincarnated through a new parallel history.
This notion of fiction is recurrent in my work, like a factor that predicts scientific discoveries. In this sense, it is why I prefer to use the term fiction-science, rather than science-fiction. Through this language based essentially
on hiatus, I try to offer an objective, polysemic art in which disparate referents, borrowed from contemporary society, collide. My works take consumerist forms that amplify the system of seduction that holds us fast in its talons.
As a whole they form a sort of collection of vestiges from the post-industrial era, made up of contemporary, new, and precious remnant. My reality is constructed in this loop where what is discarded will always return to claim
its place, waiting until a consciousness lays claim to it; when once again it will be dedicated to an intention.