'XXL #3' Group Exhibition at Montresso* Art Foundation


XXL #3

Montresso* Art Foundation

22 April - 30 June 2019


The Montresso* Foundation presents within its art space from April 20 to June 30, 2019, the exhibition XXL.


XXL is annual artistic event on the thematic of monumentality. For its third edition, it reveals the surprising worlds of Mohamed Saïd Chair, Poes and Skunkdog. Born from a desire to confront artists with the exercise of the oversize, XXL thus offers, beyond a purely formal form of experimentation, the freedom to make each of their writings exist in all their expansive potential. Witnesses of their times, it is through an experience that is both inescapable and immersive that the artists of this selection propose to reveal to us an intergenerational perspective, focused on our world.


It is in an ultimate dialogue that Mohamed Saïd Chair, Poes and Skunkdog break down in turns the boundaries of creation. In this way, by transcending the contours of their practices, they succeed in disrupting both space and time. By proudly embracing their time, these three generations of artists thus acheive to match their visions to their aspirations.


Mohamed Saïd Chair


As a self-taught artist, it is only after a few years spent in banking and finance that Mohamed Saïd Chair traded his costume to devote himself full-time to his passion.

Following on from the “Into the box” project staging Marvel superheroes, Mohamed Saïd Chair presents a new series of hyper-realistic portraits on cardboard with a Pop aesthetic. Through a particular acuity that does not want to hide any details, the artist thus applies himself, in an obsessive quest, to probe human nature through its carnal envelope. 


Range of drapery, chiaroscuro, anatomical precision, ver-daccio, Mohamed Saïd Chair uses all the classical academic techniques to question the form of modern alienation that mass culture represents.


Fallen heroes of our current societies, the characters of Mohamed Saïd Chair find themselves locked in these declining bodies with decadent flesh, dressed in costumes of all kinds.

The quadriptych Game Over features two characters playing video-games. Immersed in the darkness, only the dazzling razing light emanating from the television set floods the exposed bodies. Bewitched, the protagonists seem to float in a disturbing quietude. By revealing this way the crude intimacy of his models, the artist imposes a relationship without borders. Beyond the obvious inner struggle that animates these protagonists, it is all the paradoxes and inconsistencies of a sclerosed society that are recounted.




Poes is a regular guest of Jardin Rouge. For XXL, he extends his reflection on the construction of his works as a reduced theatre of reality and his vivid dreams. Playful and wise response by the artist to the prevailing conformism, he deploys humour and irony to show us fantastic stories.


Raised by graffiti culture and comic strip heroes, Poes draws this time his inspiration from ancient iconography to create two monumental canvases tinged with anachronism. The first, Le Temps des Dieux, features Apsu and Tiamat, founding principles according to Sumerian tradition.


The exploitation as a true poetic ode of the myth of Mesopotamian creation, using a style inherited from the fathers of the Ligne Claire, also serves as a pretext for the exploitation of linear perspective as a narrative technique, dear to the artist. Its counterpart, Le Temps des Hommes, illustrates Gaïa, personified and callipyge, lying on a bed of space debris, the estimated 300,000 debris above our heads. Here; the today’s man is selfish and destructive. Humanity is made up of these new gods of our contemporary mythologies: speculators of all kinds, arms dealers or

even political vampires.



Attentive to the world around him, Skunkdog is a true witness of his time. His quest for objectivity happily coexists with a thought borrowed from punk culture and street codes. The artist’s work, fragments of a life and experience, is obviously a praise of madness, a fight against the dogmatisms and fanaticism of our world.

Objects of recovery, collages, vinyl painting, felt-tip pens, it is in a certain creative effervescence that Skunkdog tries to bring man’s metaphysical claims to their right measure.

A series of wooden works and metal sculptures illustrate characters who are somewhat disjointed. Allegories of our unconscious recklessness, these exoskeletons excoriate transhumanism.


From the world of El Bimbo to the myth of Adam and Dave to the Youtube theory, Skunkdog applies himself to disturb our references in a creative impulse tinged with anarchism.

By using bas-relief as a medium for a new urban mythology, the artist completes a form of syncretism that aims only to provide an intimate, radical and well-considered look at our modern world.


Visits by appointment on Fridays and Saturdays: info@montresso.com

For more information please navigate to the Montresso* Art Foundation website here


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