Screen Print on Arches paper.
Hand-signed by the artist.
Blek Le Rat’s L’anarchiste (2020) is a screen print on Arches paper that exemplifies the artist’s iconic stencil-based visual language and his engagement with themes of rebellion and subversion. The composition features a sharply defined black rat, rendered in bold contrast against a white background, standing upright in a poised, almost defiant posture. Behind it, a vivid red anarchist symbol—sprayed in loose, gestural lines—introduces a sense of urgency and political charge. The rat, a recurring emblem in Blek Le Rat’s work, signifies marginality, resistance, and the overlooked presence within urban space. The tension between the controlled stencil figure and the spontaneous spray-painted backdrop reflects the dynamic interplay between order and disorder, authority and dissent.
Blek le Rat (France, 1951) is a pioneering street artist, often hailed as the 'Father of stencil graffiti.' He began stenciling rats on Parisian walls in 1981, symbolizing freedom and the spread of art. His innovative techniques have profoundly influenced urban art, notably inspiring artists like Banksy.
Screen-printScreen printing is a technique where ink is transferred through a mesh onto a substrate, with areas blocked by a stencil to prevent ink from passing through. This method, also known as serigraphy or silkscreen printing, is commonly used to produce prints on posters, T-shirts, vinyl, stickers, wood, and other materials. The process is a type of stencil printing, allowing for vibrant, detailed designs on various surfaces.
Screen Print on Arches paper.
Hand-signed by the artist.
Blek Le Rat’s L’anarchiste (2020) is a screen print on Arches paper that exemplifies the artist’s iconic stencil-based visual language and his engagement with themes of rebellion and subversion. The composition features a sharply defined black rat, rendered in bold contrast against a white background, standing upright in a poised, almost defiant posture. Behind it, a vivid red anarchist symbol—sprayed in loose, gestural lines—introduces a sense of urgency and political charge. The rat, a recurring emblem in Blek Le Rat’s work, signifies marginality, resistance, and the overlooked presence within urban space. The tension between the controlled stencil figure and the spontaneous spray-painted backdrop reflects the dynamic interplay between order and disorder, authority and dissent.
Blek le Rat (France, 1951) is a pioneering street artist, often hailed as the 'Father of stencil graffiti.' He began stenciling rats on Parisian walls in 1981, symbolizing freedom and the spread of art. His innovative techniques have profoundly influenced urban art, notably inspiring artists like Banksy.
Sometimes images have a bigger impact than reality.
- Blek Le Rat
'Blek le Rat', otherwise known as Xavier Prou, is a French postmoderngraffiti and public-space artist. Educated at the prestigious Ecole Nationale Supérieure des Beaux-Arts in Paris, where he studied fine art and architecture, Prou was one of the first (following on from Gérard Zlotykamien) to create stencil paintings on public buildings in the French capital in the 1980s.
Xavier Prou is generally considered to be a pioneer and innovator of the street-art and graffitimovement, and is acknowledged by numerous contemporary artists as a major influence - with British artist Banksy notably stating his admiration for Prou's work.
Prou's painting can be characterized as 'guerilla-art' - emphasizing its unorthodox and underground nature, and he has worked with a variety of mediums throughout his career - such as spray-paint and stencils, canvas painting, photographs, and lithography. Prou's work typically depicts images of pop-culture or historical figures (sometimes including himself) in incongruous or surreal settings, painted in lively, vivid and eye-catching colors. Notable compositions by Xavier Prou include Madonna with Child (Leipzig, 1991), and the Escaping Paris collection of lithographs (New York, 2014). (Artist website)
Neo-Figurative Art is a collective term that refers to the revival of figurative art in America and Europe during the 1960s, following a period dominated by abstraction. Michel Ragon, a French art critic, argued that this resurgence of figuration occurred during a critical time of social and political upheaval in both regions.