Born in 1972, the one who defines himself as a "painter of landscapes" explores the city by its margins. When he moves in the urban space, Olivier Kosta-Théfaine is in search of the elements which escape us. In his will to rehabilitate the uninteresting or the connoted, the artist replaces in the field of the poetry the often inextricable balance of power which we maintain with the city. His interest for the detail guide him in his travels and feeds a picture library. Considering himself as a pure product of the city, he plays with clichés and transforms the common references.

         The classic is diverted through the techniques of a « cheap vandalism", so when he makes up on three domes of the Palais de Tokyo a sky calcined in the lighter, inspired by the frescoes of the Italian palaces, the graffiti of the ceilings of his adolescence take the airs of paints of the Renaissance. Self-taught artist, his work was displayed among others to the Palais de Tokyo (2016), to the Abbaye de Maubuisson (2012), in Fondation Cartier (2009), and integrated the collections of the Departmental Fund of Contemporary Art of the Essonne (2013) and the Municipal Fund of Contemporary Art of the city of Paris (2011).

Residency in Villa Medici, France Academy in Rome, 2016-2017

Created in 1666 by Louis XIV, the France Academy in Rome - Villa Medicis has as its principal mission the reception of artists and researchers to allow them to pursue their works, studies and researches). It welcomes the greatest artists and researchers of international fame in all disciplines in order to bring to a successful conclusion a specific project. Olivier Kosta-Théfaine was a member of residents for period 2016-2017. 

         As a part of his project, Olivier Kosta-Théfaine suggests to observe Rome and its suburb, its antique and contemporary architecture, its clichés and its hidden details. The artist proposes to measure the Roman landscape, to observe it, then to isolate it and to archive certain elements of this one. From these selected pieces and by a studio work, he suggests a transversal reading of the Eternal City and this by resting on some truths or by diverting the reality through reinterpretations, collisions, by forging links between past and present, center and periphery.