We remember the success in the United States of artists like Raymond Pettibon and Daniel Johnston whose work, without being entirely devoted to or inspired by comic books or minor genres like science fiction, seems to have come straight out of magazines or comics without any touching up or adjustment of format to be able to be set inside the white cube. For example, Raymond Pettibon's drawings have practically all been in the A4 format that he has always liked and has always imposed on the galleries that show his work, without them objecting. Artists on this scene in France have not always had the same privilege and it seems that in order to gain full status the trend had to obtain authorisations from 'great art'. In other words, a practice drawn from the 'minor' genres comic books and magazine strip cartoons can only be exhibited under the auspices of its belonging to another, supposedly more noble genre-painting. In addition, this necessary label is not harmless as we know what an artist under constraint can produce. The latter can be a source of different work and can also react in return on the definition of a constantly changing pictorial paradigm that undergoes perpetual re-evaluation. The work of Stephane Calais obviously comes to mind ; his many borrowings from favourite comic book authors - Moebius and others - in the form of the extraction of certain passages and the exaggerated enlargement of certain fragments tend to make the latter abstract and this also removes any narrative dimension inherent in the idea of comics. For whatever its degree of complexity or intellectualism, a comic contains a narrative that is generally read from left to right, just as the cinema removes all critical or reflective potential to the benefit of a sensorial loading of the spectator - at least as regards the type of film and comic concerned here - comic books and films with linear ; narrative or 'heroic' scenarios. Allusion is clearly made to this type of cinema or comic book in Ludovic Paquelier's paintings or wall paintings. Without in any way wishing to establish the slightest hierarchy between comic books, cinema and painting, it is clear that any kind of 'transfer' from the first two universes to the third erases the story when there is a story and erases the psychology when there is psychology. This vampire effect tends to make painting an absorbent element in the manner that zero is an absorbent element for multiplication. This obviously works with difficulty when experimental cinema or comic books are concerned as their own features tend to converge on those of pictorial work. In addition, apart from these questions of medium, Paquelier's borrowing is not limited to these two sources. The young artist displays gluttony, dipping almost everywhere into the iconography around him-newspapers, magazines, etc. However ; this iconography is marked iconography with a minor 'end of the world' aspect ; this theme, a favouritein science fiction, is generally accompanied by its corollary, reconstruction. One might therefore detect in Paquelier's work, in his abundant and unbridled manner of creating worlds from the debris of the one that is dying, using images of its abandoned objects and tired heroes, a metaphor of painting, whose ever-predicted death ceaselessly flowers again and starts again with fresh conquering energy. And even if the question of the pictorial medium that was the subject of debate in the second half of the twentieth century became totally diluted in the explosion of practices in all directions that shook the shackles of the last inheritors of Greenberg, the old questions of illusion, support, ground, figure, etc. fight burial and respond with young work that addresses them without any complexes. Thus proliferation on the wall of the space breaks the boundary of the frame and also shatters the notions of theatricality and illusion that condition our relation with representation ; the recombining of the multiform, polysemous sources from which the big mural compositions are made bring the notions of subject, source, motif etc. crashing down. Finally, behind these heroic/trash trompe-l'œil scenes, is not the issue in Paquelier's work the question of the regeneration of painting, the eternal return to a practice that has not said its last word ?