Cintract David was born in 1970.

Halfway between Warhol and Lichtenstein, the artist projects his vision of consumer society on all media : paintings, dolls or mannequins.

While paying tribute to the great artists Pop, David Cintract has stood out thanks to his strong personality, becoming a key figure in the movement that he founded: “The Pop free.”

David Cintract has a fascination for the exuberant sculpture and storage works so “Aladdin’s cave”.

Inspired by current events and social issues, his work carries with it the ambiguity of a quirky, childlike artistic universe, the tinted optimism tragedy.

Gaiety of colors and patterns, sparkle and communicative joy, but also depth of questions and symbols, such is the David Cintract trademark of refusing ease and laying discrete connections between very poetic forces and darker impulses.

Using techniques as diverse as oil, photo, inclusion or digigraphie, it develops on all media (paintings, models, cars …) several themes at the heart of our postmodern society:

-L’homme Face a frantic and frivolous consumption
-The Place of the fantasies and erotic adult games
-The Loss of our part of childhood in a society that no longer believes in dreams

David Cintract sets worldwide and, thanks to its universal artistic language, nourishes deep exchanges with audiences from all backgrounds and all cultures.


“My art reigns in me, but does not rule me”

DJ image and matter, David Cintract is defined as a visual artist and existential touch.
Multisensory, it passes with disconcerting ease of traditional painting techniques with modern technologies such as digigraphie, photography, the inclusion of other products / toys …
Through its mannequins that “dandyse” its Mutantoy’s Candy Box and he makes of individuality in the manufactured and deposited his poetry in the series of objects.

Q: “Is being an artist is obvious to you”?

Art and philosophy are to me the best way to aesthetize my existence. With these two means of expression and reflection, I was able to optimize my tragic optimism and reverse the general neuroticism contemporary works. My wish is to deal with company or topical subjects more or less serious, and to attempt a democratic and positive transcription. For me it is a fun way to play with images and frivolous objects that recall childhood with filigree the finding of a report obsession we have with frivolous consumption, fueled by advertising constantly renewed. This work brings me also to wonder if happiness would not exhausted the pleasure of consumption

Q: “Why Pop free”?

Is generally treated me in Pop Art, which does not bother me, although I find it too limiting. Indeed, I see myself in a most singular Pop, and since it takes place in the artistic styles of the boxes I created the Pop free for a perfect match!
Pop Libre is also for me how to free myself from my a “false fathers” of Pop Art, and keep a link with those who so influenced me, ie Rembrandt, Leonardo da Vinci, Courbet, Caravaggio … for painters; Epicurus, Spinoza, Nietzsche … for philosophers.
To summarize, Pop Libre, it is the ratio that exists between my art and myself. It’s a lifestyle, a mindset, because the more intense my Pop Libre, most beautiful is my soul.

Q: “How do you explain the wonder of children and adults facing your works? “

I try every day through my art to find the spontaneity of my childhood, and revive among the many.
If art has a powerful effect is that it gives pleasure, and mainly that of projecting out of the constraints of existence. This fills me with joy to see my works fulfill this function.

Q: “In the abundance of your concepts, which invention are you most proud of?”

I think we should remain very modest. Indeed, we are not inventing anything. It maintains, is exceeded, and if one is not too bad, it surpasses. The movement of Incohérents (1882-1893), whose movement is never discussed, had already created without measuring it nor that it is recognized to him the concept of contemporary art.

Q: “In one of our conversations, you told me that” the man and the artist are harmonious opposition. ” What? “

I appropriates me, as I act and evolve as an artist. This is not the man but the artist that I am developing, and the artist is the man I am. This is the unique sense of Pop Libre!
A kind of artistic bi-polarity as Nietzsche said, mixing Dionysian (man) and Apollo (the artist). The first release in a pulse artistic expression and intensifies my power of attorney. The second aestheticizes, to create a kind of excitement eye, clearing the sky to illuminate my mind. I love the direct contact with matter.

Today, in the world of art, we do not know if it is known because it has talent or because it is visible. To be seen, no matter why. And being known, even you become famous without any talent, which establishes an elite whose prestige can sometimes lack “legitimacy”. Should we are capable of self-education in contemporary art to not suffer the tyranny of the star system and the speculation that goes with it.

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