“Basically, my universe is made up solely of references to childhood in the broad sense.
Everything starts with a digital drawing on the model of the clear line, dear to Hergé and according to precise specifications where I mix my childhood characters in the heart of a referring situation which must immediately awaken the memories of the spectator. . Without excessive intellectualization, I invite him to immerse himself in his own general culture to identify the “ref” at the risk of seeing his interest in my work dull. Then, I let him interpret the “second degree of reading” of the staging of the two parameters, situation and characters.
From Pop-Art I borrow the popular, encounters with large paintings during visits to museums, cinema, TV series, music but also from sports victories, historical moments, advertisements and even iconic brands. In short, everything that gave a link to my youthful years in the 80s and 90s.
On the form I treat my subject in a version with strong Street Art connotations and voluntarily trash in the surface treatment.
From the world of Street Art I borrow spray paint, stencils and paintmarkers. Then I want my viewer to have the impression of appropriating a piece of wall, as some did when the Berlin Wall fell, with the idea of tearing off a piece of himself.”
The double initials
That’s what started the great cartoon tradition of double initials to make names easier to remember and bring to life characters by Disney (Mickey and Minnie Mouse, Donald and Daisy Duck, Clarabelle Cow/ Horace Horsecollar etc.), Warner Bros and Looney
Tunes in 1933 (Bugs Bunny, Daffy Duck, Porky Pig).
The same goes for American comics: Stan Lee picked up the memory aid in 1941 to make the names of his Marvel creations easy to remember: Peter Parker and his archenemy the Green Goblin (Spiderman), Bruce Banner (Hulk), the Fantastic Four and Silver Surfer followed by Marvel’s competitor DC Comics
(Wonder Woman, Lois Lane in Superman).
European comics soon followed suit: the Belgian illustrator Morris, the brains behind Lucky Luke with a love for America, applied the same rule to his two main characters in 1947, Lucky Luke and Jolly Jumper.
So it makes sense for me to use it in my world i.e. with the Grosminet Green Goblin painting for example.
“There is the “cemented plaster” version on a dibond plate previously covered with canvas. Printing of the drawing, addition of colors then thickening of the lightenings to give relief to the drawing for manual enhancement. Edition of 8 + 4 artists’ editions. All identical …. and yet all different since the contribution of colors is multiple (never the same mixtures) and the enhancement with paintmarkers is done according to my moods.
There is also the “block” version in laminated fiberglass and resin, the creation of which is strongly linked to my origins as a plastic artist in sculpture. Under international patent, I bought the license to use the concept which fits perfectly with my craving for a torn wall.
My paintings come in 11 different sizes from 90x60cm to 200x150cm but each drawing is eligible for only 2 or 3 sizes.”
Peppone uses his impressive collection of comics to imagine resin shapes in bright and colorful colors. They are imbued with a strong pop symbolism that reminds him of childhood and the territory of innocence.
He draws his inspiration from Walt Disney and his eternal Mickey, Hulk, Zorro, Spiderman and other Marvels. But also among pop culture icons: Wahrol, Pollock, McFarlane or Straczynski.
Peppone explains that man is the only living being who knows he is going to die and that, to escape his condition, he reproduces, communicates and dreams; thus maintaining a kind of cyclical link between past, present and future.
The sculptures are available in several formats and supports: standing, on a base or wall-mounted.
- Fiber concrete paintings
- Cemented plaster paintings
- Block paintings
- Pink Panther
- Betty Boop
- Beach babe
- Angry birds