He also recognised the influence of Canadian artist Richard Hambleton, who painted large-scale human figures in the 1980s.
Initially influenced by the early graffiti-art of New York City after a visit in 1971, he chose a style which he felt better suited Paris, due to the differing architecture of the two cities. His name originates from the comic book Blek le Roc, using "rat" as an anagram for "art". He described the rat as "the only free animal in the city", and one which "spreads the plague everywhere, just like street art".
Xavier Prou was born on 15 November 1952 in Boulogne-Billancourt in the western suburbs of Paris.īlek began his artwork in 1981, painting stencils of rats on the walls of Paris streets. He was one of the first graffiti artists in Paris, and has been described as the "Father of stencil graffiti". This reveals the artist’s insight into perceptual processing, although it remains unknown whether the knowledge of the crucial effect of background patterns on perceptual completion is explicit or implicit.Blek le Rat (pronounced born Xavier Prou, 1952) is a French graffiti artist. But when the wall is patterned with large-scale luminance edges - e.g., due to bricks - Banksy takes the extra time to fill in unpainted figural regions with another color.
When the wall is smooth, Banksy leaves the regions previously covered by the stencil unpainted, relying on observers’ perception to segregate figural regions from the (identically colored) background. To minimize on-site production time, Banksy renders his famous subjects (e.g., the rat) by applying single-color paint over pre-fabricated stencils. Although this effect has not been previously described in the perception literature, analysis of a large corpus of work by the graffiti artist Banksy suggests that the type and condition of the background wall significantly affected his artistic choices. Here we show that patterned backgrounds produce detrimental effects on perceptual completion also in the case of two-tone images. For Kanizsa surfaces, it has been long known that perceptual completion is greatly reduced when the inducers are placed on a patterned background (e.g., a checkerboard). The binarization often causes lighter facets of the objects to merge with the background (or darker facets, for dark backgrounds), yet perceptually those regions appear figural, distinctly segregated from the background. But surface completion also plays a major role in perceiving whole objects from binarized pictures (‘two-tone’ images) such as Mooney faces. Kanizsa’s square may be the best known example of perceptual surface completion: a whole shape is perceived where only fragments of its bounding contour are present.
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