Reviews

Introducing English-speaking readers to one of the most unusual and original voices in contemporary French culture.
*AIGA*

Sardon is firm about his practice, which is rooted at once in experience and “utter uselessness” (a stamp isn’t food, it isn’t a roof). There is a punky purity here too.
*LA Review of Books*

Its pages produce a kind of alternate bureaucracy, a profane portal dedicated not to renewing your driver’s license but to spreading chaos and fatalism, one inky impression at a time.
*Paris Review*

Gorgeously uncouth, cynical, and—in moments—despairing, Sardon’s work primarily revels in a Dada-like spirit of playful inconsequence and good-natured goading, and it’s expertly captured here.
*Publishers Weekly*

For me, the most exciting book of the Fall publishing season (featuring one of the best covers) is The Stampographer, which showcases the fantastic, anarchic imagination of Parisian artist Vincent Sardon … There are insults in multiple languages, sadomasochistic Christmas ornaments, and a miniature Kama Sutra with an auto-erotic Jesus. Sardon also uses the stamp as satirical tool and weapon, deconstructing Warhol portraits into primary colors, turning ink blots into Pollock paint drips, and clarifying just what Yves Klein did with women’s bodies. Whew!
*Print Magazine*