The world of Paul Yore is encrypted. Behind the simplistic images hand woven on his tapestries there is a subtle will to provoke our thoughts on gender, identity, consumerism and daily violence. The artist chooses to apply psychedelic vivid colors to ultra detailed illustrations : phalluses shooting out rainbows, youths riding white unicorns, skulls conversing with pigeons, and pigs dressed up as police officers. He designs a whole lot of messages in his work, whether it’s tapestries or large installations made out of an accumulation of toys found on the streets. (One of his last pieces, “Everything is fucked”, was removed from his last show, allegedly representing child sex abuse, see the very two last pictures below).
Paul Yore is protesting in his own way by impregnating the culture of excess on his overflowing tapestries. We are immersed within his dystopia, his family of masturbating characters, naked flying humanized butterflies and cheerful animated vanities. This joyful scenario hides his honest concerns about real debates. The actual consequences of social and cultural nonsense in our existence is a primordial topic. In a world where communicating is done through all kinds of ways, he doesn’t seem to have the freedom he needs to express his ideas. Censorship versus artistic freedom between the artist and the authorities is the culminant point this battle has reached.