DRIP’IN: the adventure of an entrepreneur committed to urban art
A few days before an exceptional artistic event on HCMV, Dominique Mourey spoke about the human adventure behind his project DRIP’IN, which aims to create unique art objects in collaboration with various urban artists. Passionate and committed, Dominique has been able to gather around him international urban artists, craftsmen, NGOs, as well as his family, who has supported him unconditionally since the beginning of his entrepreneurial adventure.
Before becoming an urban art curator, your professional career had little to do with art. Can you tell us about this career path and the reasons that led you to set up DRIP’IN?
I spent 28 years working in the luxury goods, decorative objects, lighting, ready-to-wear and textile industries. I have held the positions of quality and production manager, industrial manager and general manager of sites and offices, in France and abroad.
I have always been a fan of urban art. It is the largest contemporary art movement on an international level. Beyond the artistic aspect, urban art is a social act that allows us to embellish cities that are more and more concrete. However, urban artists are still considered as vandals!
DRIP’IN was born out of personal frustration. Urban art is ephemeral, you can’t take it home. However, when a wall piece is masterful and touches you deeply, you want to be able to keep it over time. I have never found the same emotion with photographs of murals or the merchandising sold by artists.
My desire was to have a rendering similar to that of the street. And that the works retain their power and authenticity – artistic and emotional – despite being reduced in size. I used my experience in product manufacturing, taking into account the characteristics of the artists and the choice of materials, in order to give the right “resonance” to the art object created.
DRIP’IN aims to support and enhance the value of urban artists, both in terms of visibility and financially. So we had to start by discussing it with the artists themselves. Céz Art, a French artist from Reims, was the first person I spoke to about my project three years ago. He immediately responded and trusted me. Afterwards, I found this enthusiasm in all the urban artists I proposed to collaborate.
The most complex part is the development of the products. Thanks to my knowledge of more than 500 manufacturing processes, I know what is possible…but then I have to experiment! For example, the ceramic wagon took two years to develop. We had to test no less than 12 different suppliers to find the best rendering for this object.
Generally speaking, the manufacturing process takes between four and six months, from the discussion with the artists to the release of the piece. Metal lithographs require several months of testing, just for printing. In addition, it is necessary to carry out colour tests in order to render the artist’s work in the best possible way. This requires close collaboration with the artists and a technical understanding of the relationship between man and machine.
Beyond your artistic collaborations, can you tell us more about the human aspect of your project?
It’s a great human adventure! Even the suppliers and craftsmen were enthusiastic about the project and the technical difficulties. If we come back to the development of the wagon, one of our partners even recalled some retired workers. Indeed, only the ‘old hands’ had the mastery of the viscosity required for the ceramic.
The essence of DRIP’IN is artists, associations and people committed to the recognition of artists. We have met and exchanged with people from a wide variety of backgrounds, such as culture and industry. There are still bridges to be built between them, but that is also what DRIP’IN is for: to generate common interest.
DRIP’IN also has a social vocation. For each piece purchased, a part is donated to an association chosen by the artist or, by default, to Emmaüs Solidarité. All these associations have a connection with the street. The aim is to “close the loop” in a virtuous circle, since the artists work in the street and are close to the people who live there.
It’s hard to choose, there are so many!
I have a soft spot for Kobra, a Brazilian artist committed to the defence of Amerindian communities and the environment. I also really like D*FACE, who paints these women inspired by American cultural icons, adding a life and death aspect. Of course, we can’t forget Banksy for the beauty of his message. He is a very committed artist, who has painted the famous murals in Palestinian territory.
And we mustn’t forget the female artists, who have a different sensitivity, a different poetry. In France, I like Miss Tic for the shock of her words and her mural works made with a stencil technique, always perfectly chosen to accompany her message. There is also Miss Van, another initiator of the female movement in urban art. In Asia, I am proud to work with Bao, who is an up-and-coming artist in Hong Kong. With a manga inspiration, this little woman fights against the rules of a strict and macho society.
Read the original interview on le petitjournal.com