Laurent Proux (b. 1980, Versailles) lives and works in Paris. Working in spray paint, graphite and oil—often from photographic sources—Proux creates powerful, disquieting images that collapse the opposition between figuration and abstraction. His subjects range from emptied workplaces and dehumanized industrial interiors (phone shops, data centers, factories) to fragmented, sexualized bodies; through formal intervention—altered perspective, colliding planes, exaggerated silhouettes and artificial color—he transforms familiar settings into staged, electrified tableaux where bodies and machines conflate. Proux’s paintings and drawings register a sustained inquiry into the politics of the body and the aesthetics of modernity. He renders environments as blurry, graffiti-streaked arenas whose legibility is repeatedly hacked: surfaces burst with color, signs and visual aberrations that question the programmatic languages of work, surveillance and commodified space. More recently he has introduced a stronger human presence into these interiors, interrogating social relations and the body as a contested, politicized mechanism. His first institutional solo exhibition opened at the Musée de l’Abbaye, Saint‑Claude (2025). He has shown widely at institutions and fairs including Musée d’Art Contemporain de Lyon, Shanghai Art Museum, Moscow Centre for Contemporary Art, Mana Contemporary (Chicago), FRAC Limousin (Limoges) and Le Lieu Commun (Toulouse). Proux was a resident at Casa de Velázquez (Madrid). His work is held in major public collections including the National Centre for Visual Arts (CNAP), the regional FRAC collections (Occitanie, Limousin, Nouvelle‑Aquitaine) and the Paris Municipal Collection (FMAC). Proux’s practice offers a staged, intellectual enigma: pictorial choices that resolve the questions posed by his subjects while continually destabilizing the viewer’s act of recognition, making his work at once politically urgent and formally singular.