Cradled by the counter-culture of the 90s, Zokatos naturally turned to the street as an original field of expression. He has kept from graffiti its brutality, its evocative force and a certain conception of painting. From wall to canvas, his work then evolved, while retaining the tools of street art, markers and spray cans for the most part. His abstract and colorful compositions now clash with the pragmatic and grizzled universe of the Parisian cities of his childhood.

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His work, already rich and varied for a 29-year-old artist, is an original synthesis combining urban art and abstract art, going from spray paint to watercolor, from canvas to sculpture, with the ease of great autodidacts. The softness of a non-figurative aesthetic made up of bright shapes and colors is as if violated, brutalized by the tools used, the drips and the spontaneity of the artist's gesture.

One thinks then of an allegory of the dilemma of the urban artist, this constant tension between the street, eternal exhibition hall, and the canvas, badly necessary. If seeking to bring his aesthetic closer to that of illustrious one-way painters, we can cite the masters of the New York School: from Pollock's action-painting for the rhythm printed in each composition, to the post- painterly abstraction of Sam Francis, genius of color.

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We will also evoke lyrical abstraction, Mathieu, Schneider, Hartung, whose artistic approach based on the absence of premeditation of the gesture and the speed of execution was conducive to revealing the artistic genius, the paintings then becoming the direct transcription of the emotion of the painter. It is this same emotion that we find in Zokatos' painting, the raw emotion of the artist who paints in order to exist and for whom the canvas, a medium of vital expression, is an end in itself.