Loïc Le Floch, aka Fenx, is a visual artist born in the mid-1970s who lives and works in Paris.
His body of work unfolds as an intimate narrative, deeply informed by the echoes of his emotional, cultural, and iconographic past.
Emerging from the subcultures in which he was an active participant, Fenx has forged a singular aesthetic where memory, technical rigor, and spontaneity converge.
Advocating for a return to "beauty" coupled with a search for the perfect gesture, he composes minimalist works, stripped of the superfluous, where the viewer is invited to fill in the deliberate absences.
His early interest in flat painting and vector art took root in an era defined by the rise of digital technology and design software. This was a painting of "its time," born from computer language, where data reduction and formal simplification mirrored a new, technology-driven aesthetic. This period defined his sense of structure, clarity, and palette, the very foundations upon which his current practice is built.
Over time, Fenx has moved toward a more gestural and organic approach, where texture, spontaneity, and "the happy accident" engage with precise line-work and flawless flat tints. This tension between control and freedom yields an immediately recognizable style, unified by evocative chromatic scales and a constant equilibrium between figure and ground.
Throughout his work, Fenx pursues a delicate balance between control and chaos, figuration and abstraction, structure and spontaneity: a pictorial dialogue that lends his paintings an almost musical tension, at once disciplined and vibrant.
The female figure remains central to his practice. She embodies both a call to the "other" and a fascination with beauty, reflecting a poetic attraction marked by elegance and restraint. Fenx’s nudes avoid both voyeurism and idealization; instead, they express a sensitive quest for alterity, where sensuality is merely suggested, never imposed.
In recent years, his work has revisited a "dreamed America," reimagined as an interior landscape where memory, imagination, and emotion meet. His paintings feature listless Californian bathers or Palm Springs vistas, where the geometric lines of modernist architecture contrast with lush vegetation and the sharp clarity of the light.
More recently, in response to the silent fractures of our time, Fenx’s painting has evolved into a space for inquiry, quiet dialogue, and reparation.
This shift was first seen in the "VEGGIE" series. Far more than a botanical study, these poppies serve as a platform for questioning contemporary contradictions. Through them, Fenx explores the complexity of modern commitments and the polarization of public debate, offering instead a space for nuance and reconciliation.
This evolution continues today with his series on Madonnas. Fenx anchors the sacred within the human, revealing a simple, timeless gentleness free from idealization. Rather than a single figure, he presents a plurality of presences capable of absorbing the tensions of reality, transforming them into a deeply sensitive, open, and contemporary form.
From Urban to Contemporary
Fenx’s career traces a profound evolution: that of an artist from the streets whose aesthetic has matured into a universal contemporary language.
His presence in major institutions celebrates not just graffiti, but the relevance of his unique perspective on today's visual culture.
In 2009, his participation in the "Le Tag au Grand Palais" exhibition served as a catalyst, proving that his compositions possessed the scale and power to command monumental spaces.
This recognition was further solidified in avant-garde venues such as the Palais de Tokyo ("Lettres de Noblesse," 2010), where his work engaged directly with the codes of contemporary art.
His inclusion in "40 Years of Pressionism" at the Monaco Museum (2011) and later at the Museum of Fine Arts in Calais (2019) firmly established his canvas-based work as a significant chapter in recent art history.
In 2023, he took over the walls of the CAPC's priory of Vivoin. This solo exhibition created a dialogue between his early and recent works within a colossal space steeped in history and spirituality, centered on the theme: "C’est pourquoi mes bien-aimés, Fuyez l’idolâtrie."
The visual impact of Fenx’s work translates seamlessly across diverse cultural contexts, demonstrating the maturity of his style.
From the Singapore Pinacothèque (2015) to the K Museum in Seoul (2017), he has established a signature that transcends street art boundaries to join the global contemporary scene.
From the collective energy of the Tour 13 project in 2013 to his New York presence via Wallworks Gallery in 2018, Fenx navigates with ease between raw, site-specific projects and the sophistication of premier galleries. Previously represented by Galerie Marcel Strouck, we have been proud to support the expansion of his artistic universe at Galerie Taglialatella since 2022.