Long before he can recall, Tanc has always considered writing as a refuge. As a young student, he would trick his teachers by filling the pages of his notebooks, not with notes, but with symbols that were as indecipherable as they were fascinating. Today, in the intimacy of his studio, Tanc has continued this mania but has adjusted it to his moods, influences, and current obsessions.
Referencing how the process triumphs over the result, Tanc relies heavily on his gestures, which are both frantic and spontaneous. Following his own rhythm, he uses pulses that evoke his memories, unraveling a language of emotion, regardless of its illegibility, using various materials and supports. The language is meant neither to be imposed on the viewer nor translated. Instead, we are encouraged to make our own interpretations. Although he is capable of engaging himself profoundly until exhaustion in a process, tool, form or style, the evolution of his work becomes clear thanks to his numerous series: the Spheres (an ode to spray paint) through to the series of Oscillations (an exploration in sketching), moving to pieces saturated with scratched and scribbled writing. These series by Tanc thus move towards a more complete array of abstraction. Oil paint is amassed directly onto the canvas directly from the tube, pressed and squeezed until it is finished, and placed onto the canvas like the stirring of tumultuous ocean waves.
Finally, Tanc's work would not be entirely complete without a reference to music. As a composer himself, electronic music seems to stem from the same sincere and spontaneous creative process, with a similar sentiment: freedom. Similar to Paul Klee during his time who linked together painting and music, today Tanc explores the point where these two disciplines largely inspire and speak to one another.
Ceaselessly exploring his own psyche, Tanc has left a part of himself in his sonar and visual wakes. The hand that writes or draws, the hand that composes or plays, no matter the words, within language and with writing, it all seems to say the same things.
As subjective as it seems, can you describe your path ?
It started in my childhood, where I discovered the several ways of painting… One of them spoke to me and I decided to work with it, it was graffiti. I started by painting abstract shapes, lines, colors and effects… until I earned my place in the milieu by writing my name.
During the 2000’s I started to make shows, along with the new general passion for Street-Art. I was freshly graduated of a Master degree in artistic direction, and I had to make the choice between living by reason or living my dreams… I chose my dreams. After the poster collage in practiced with Jean Faucheur and the group Une nuit, I gathered my friends from VAO to invest a workshop at la forge in Belleville. Exhibitions followed each other in a regular path, with the first trips, the first residence… I don’t earn much money, but it’s such a sweat way to earn it in regard of the life I live. I paint, I party, everywhere and all the time. I want to live it all! Seven years have gone by when I left with the Atlasin a new workshop in the Lilas, it’s a new era. I became braver, more serious and more professional. The dream came true, I had to consider new goals. It was six years ago. Nowadays, I follow my path in the art world as exhibitions and encounters. It’s funny how the more I get closer to my goal the more the road seems to be long. Life is a performance!
Your work show a peculiar interest for gesture, what influences are hidden behind this interest?
Even though my heart was going to several types of representations, I feel closer to Action painting and lyric abstraction. In my opinion, its practice has no equal. Within it, gesture is prevailing and singular. Action painting is the human touch and the direct transmission from the painter to the spectator through ages, even if it fits in a larger scheme.