Advertising slogans, wordplay as neon signs, logos of chocolate brands and film studios — the colourful world of Stéphan Landry is fiction and commerce, a world à la Hollywood where all goes well. During and after his training in Geneva on A3 sheets, in squared ring binders during his wandering years, later for financial reasons on soggy recycled paper, Landry creates a downright Warholian alphabet, using the most diverse techniques such as gouache, ink, glaze, synthetic lacquer and even Tipp-Ex. As much as the positive side of the happiness industry is invoked, Landry exposes its very mechanisms through exaggeration, and pop becomes an intimate story about the artist himself and his everyday surroundings. Landry's very own mischief fills the iconic subjects, suffusing them with a sensuality more explicit than rapturous. And yet they stand isolated and anonymous in relation to the world, with the fragile silhouettes of a Markus Raetz.