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NOART

WoodIronAluminiumMetalMirror
60 ⨯ 60 ⨯ 20 cm
ConditionExcellent
Price on request

Villa del Arte Galleries

• About the artwork
  There is an overwhelming sense of fun and wit in Noart’s mirrored installation series. His immersive kitsch aesthetic points to bigger questions, challenging ideas of worth and wealth along with illusions of security.
  Noart is a Parisian artist who graduated from the renowned Madame Street Art School in 1985. He has been guided by early inspiration found in the highly imaginative worlds of J.M Barrie and Jules Verne, later constructing his own glittering false realities offering a commentary on society and the human psyche.
  The artist invites us on a journey between art and luxury, where the line between value and illusion becomes blurred. His work reflects his childhood fascination with the flip side of contemporary urban life, reflecting an interest in an urban street aesthetic. His art spans diverse forms, encompassing art, furniture, sculptures, and curated spaces.
  Noart’s work has been exhibited widely on the international art scene, from France to Singapore and Türkiye.
• About the artist

  NoArt, the alter ego of Arnaud Lucet (Paris, 1965), is a French sculptor and installation artist who, with a wink and a welder, dissects the darker sides of our consumer society. Since graduating from Madame Street Art School in 1985, he has been building a unique oeuvre in which money, power, and false security are dismantled into gleaming, mechanical fables.

  His work is instantly recognizable: a steampunk universe of metal assemblies, industrial valves, pipes, and gears—often salvaged from abandoned workshops—which he transforms into luminokinetic sculptures. Neon, reflective surfaces, and gleaming steel seduce the eye and suggest luxury, while the underlying structure remains raw, urban, and almost anarchic. This tension forms the core of his visual language: bling versus concrete, fantasy versus financial reality.

  Themes such as the absurdity of financial excesses, offshore constructions, and the illusion of security recur regularly. Vault doors, "Offshore Machines," and pseudo-weapons don't become objects of power at NoArt, but ironic relics of a system that takes itself too seriously. His well-known ACME series from 2010, with playful references to Looney Tunes, uses cartoonish weapons as satire: danger is dismantled here into a childish joke, as if Peter Pan has enrolled at Wall Street business school.

  Technically, NoArt works according to the principle of assemblage: he reuses industrial waste materials and gives them a new narrative. Each work bears traces of its previous life—rust, scratches, use—making his sculptures not only aesthetic objects but also archaeological finds from the age of hyper-capitalism.

  His work has been shown internationally at venues including Galerie Olivier Waltman, Opera Gallery, and Villa del Arte Galleries, with exhibitions in Paris, Singapore, and Barcelona. In this context, NoArt positions itself as a chronicler of the modern city: ironic, playful, and technically refined. NoArt doesn't create an accusation with a raised finger, but rather a theatrical mirror. His work laughs, winks, and sparkles—while simultaneously questioning who truly pulls the strings in a world driven by money, power, and the illusion of control.

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