Au petit matin c'est déjà la fin
Adam Bilardi

Exo Exo, Paris
January 13 – February 12, 2022


Au petit matin c'est déjà la fin, 2021
Exhibition view, Exo Exo, Paris

Au petit matin c'est déjà la fin, 2021
Exhibition view, Exo Exo, Paris

Au petit matin c'est déjà la fin, 2021
Exhibition view, Exo Exo, Paris
Adam Bilardi Adam Bilardi
Avec toi c’est être seul, 2021
Oil on canvas
35 x 22 cm


Adam Bilardi Adam Bilardi
Le code pour rentrer dans ton cerveau, 2021
Oil on canvas
35 x 25 cm


Adam Bilardi Adam Bilardi
Une bonne journée, ça peut être un adieu, 2021
Oil on canvas
120 x 80 cm


Adam Bilardi Adam Bilardi
Relation 100% honnête, 2021
Oil on canvas
130 x 97 cm


Adam Bilardi Adam Bilardi
Seul avec l’interdit, 2021
Oil on canvas
15 x 20 cm


It’s 10:30 pm when I finally call Adam. It’s Sunday night, he’s coming out of the movie theater.

- What did you see ?
- ‘Residue’
- don’t know it
- It’s about a guy who goes back to the neighborhood he grew up is and he doesn’t recognize anything. It was horrible I almost left…

I hear my son calling me. He is still not asleep.

- Wait, I’ll call you back in 5
- Ok

‘I’m scared of the walls mom’. I still remember this very unpleasant sensation as a kid not to be able to manage the perspective of my room, not to grasp the distance between me and the ceiling, to see it sometimes too far away to protect me or to feel it too close, about to crush me.

- Ok, I’m back, sorry. Can you send me the titles of your new paintings ?

One day, I showed a painting from Adam to my son. He told me it looked between ‘a hug and a fight’.

- Yeah, titles is pretty much everything to me (he laughs). Because I think they often say more than the image. They are like its lyrics? They guide us.

I get a message. Like a poem.

Une bonne journ e  a peut  tre un adieu (A good day it could be a goodbye)
Avec toi c’est  tre seul (With you is being alone)
Le code pour rentrer dans ton cerveau (The code to enter your brain)
Une relation 100% honn te (A relationship 100% honest)
Seul avec l’interdit (Alone with the forbidden)

Adam’s paintings are paintings from dawn. There are fluorescent oranges and pinks rising from the background as a morning light that struggles to come out.

- Yes, there is one of the titles that’s from a song by Booba ‘Scarface’. I like the idea that music is a privileged emotional space. Booba for example talks about love in this song, although I’m sure he wouldn’t in everyday life.

Adam’s paintings are portraits of the duality. Of course, the characters are always two, in the embrace, in the conflict. The paintings are the representation of an idealized love as the one we find in tales, an interaction raw and sincere that makes the skin a little blue as if the bodies had fought late in the dirt, as if they were covered in soot.

- We’re looking for ourselves in the mirror. I believe that deep down we experience relationships to better know ourselves.
- And the dogs ?
- What about them ? The dogs are a metaphore. It’s an animal. He too is caught up in relationships but he’s not sexual. He is more aggressive.

I realize that in Adam’s paintings, men aren’t sexual either. Their bodies are uncomfortable. They are slightly in pieces. They are chiseled like rocks.

- You won’t make anymore ?
- Dogs ? Of course I will !

Adam tells me he wanted to talk about love in art school but he refused to be listed as a man who painted men. He remembers that he wanted mostly to talk about feelings and he was mocked. People called his ambition too superficial. ‘You gotta stop make everything about the heart’, some teachers said.

- I didn’t understand. That’s when I started painting dogs. Then I had enough of the dogs, and now I have enough of the boys…
- Basically they’re the same ?
- The sugbject is the same yes. The bond.
- …
- I had a horrible nightmare last week. There was nobody coming to my opening, nobody!
- Hum, maybe you miss the dogs I think.

– Elisa Rigoulet