The roof of the National Civil Aviation School in Toulouse became the site of the latest work by mysterious artist James Colomina, dubbed the ‘French Banksy’, after a sculpture of a young girl appeared on its roof earlier this year.
The work depicts a child, perched on the edge of the building and holding the string of a kite, in the artist’s signature Colomina red, and it has several meanings.
“This sculpture evokes innocence and dreams in the face of the constraints of the adult world,” he said.
“Placed on an aviation school, it symbolises the aspiration to take flight and go beyond one's limits. The kite represents freedom, but also the fragility of our ambitions in the face of the realities of life.
“It also has an ecological dimension: in a world where aviation must evolve, this kite symbolises a lighter and more environmentally-friendly flight.”
The installations are often provocativeJames Colomina
Mr Colomina’s sculptures are sometimes challenging, sometimes satirical, and can be found throughout France, as well as in the UK, Kyiv, Rome, Venice, Berlin, Barcelona, San Francisco and New York.
“I choose places where my works have meaning, where they can interact with history, architecture or current events,” he said.
“Sometimes it's the location that inspires me to create, sometimes it's the other way around. I have a work in mind and I look for the place that will reveal it. Urban space is an integral part of my work, giving it a unique resonance. Each place brings a new reading to my sculptures.”
Creating a striking presence
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All his sculptures are painted in the same signature colour, a vivid scarlet. But why did he choose to use it, and would he ever change?
“Red came about naturally,” he said.
“It is a strong, immediate colour that attracts attention and creates a striking presence in urban spaces.
The artist intends for his artworks to be "impossible to ignore"James Colomina
“It evokes urgency, revolt and danger as much as passion and childhood. In the street, it acts as a signal that is impossible to ignore. For the moment, I don't want to change it, because it perfectly reflects my intentions.”
No details are known about Mr Colomina’s life outside art – and he is keen to preserve this secrecy: “I'll keep that information to myself. What counts is the work, not the artist. I think that hiding is giving more space to those who need to be seen.”
Mr Colomina said the responses to his works, which appear with no fanfare, are mostly positive.
“The public often reacts with curiosity and emotion, children in particular,” he said.
“Local authorities are sometimes reluctant, but some end up adopting the works. As for the experts, there is still debate about the place of urban art, but my aim is above all to challenge and provoke reflection.”
The street as an essential stage
It took 10 years to refine his style before he began placing his works in public places.
Each piece is designed to work with its environmentJames Colomina
“Installing them in the street has brought my sculptures to life, in a way giving them a voice. I think art should be a surprise, a break from the everyday, a mirror held up to the city and to those who pass through it,” Mr Colomina said.
He said his creative process is rooted in “an emotion, an observation, a revolt,” adding: “I make sketches, then I work on models before moving on to sculpture. Each piece is designed to interact with its environment and surprise passers-by. Installation in the street is an essential stage: it gives the work its full meaning by confronting it with the reality of the world.”
He explained that the aim is to create sculptures that are accessible to everyone and that the public can explore for themselves. “Childhood, which I often explore, speaks to everyone and arouses instinctive emotions,” he said. “My sculptures, placed in public spaces, directly challenge passers-by, without a filter. Then they travel through social networks and the media, extending their message and leaving everyone to interpret them in their own way.”
Each installation opens a storyJames Colomina
When asked if there was a dream place he would love to install one of his statues, Mr Colomina replied: “With each new installation, I make a dream come true. Each city brings a new reading to the work, a new interaction with the world around it.
“What interests me is to see my sculptures anchored in places where they resonate with their environment and challenge passers-by. The next city is always a dream location, because each installation opens a new story.”
More installations are on their way, though with no clues as to where or when. Colomina said they will aim to “surprise and question urban space”. He said: “The adventure continues, and some works are already travelling in secret... They will appear where they are not expected.”
As for that nickname, the ‘French Banksy’, Mr Colomina is keen to underscore the differences between the two artists. “I understand the comparison because, like Banksy, I also play on anonymity and mystery. But our tools are different: he works with stencils, I work with sculpture.
“What matters is not the name I am given, but the power of the image and its impact in the public space. Art must challenge, shake up and open up a dialogue. I simply try to be James Colomina, and that's already enough for me.”
