TELETEUB is one of the longest and biggest compositions I have ever created. The title plays on the idea itself: a gigantic Teletubby with a gigantic dick, where teub is French slang for it. From the beginning, the work was meant to be excessive, ironic, grotesque, and impossible to ignore.

I first drew the outline during one of the events at my ex studio, but the piece did not come all at once. I left it open and kept returning to it over the course of a year, adding something each time life hit me with a new situation, a new intimacy, a new fracture, or a new emotional charge. In that sense, the work became an accumulation of personal moments, layered one over another, almost like a diary in expanded form, but translated into image instead of words.

There is also a strong analogy here with tattooing. Every single rupture, every emotional break, every intimate mark that life left on me, was treated as if I were tattooing the Teletubby itself. Just like in tattooing, and just like in the way I use time on my own skin and process, this piece needed time to pass. It could not be done all at once. In this case, it needed a whole year, because for the figure to receive all its “tattoos,” life first had to happen. The time between each intervention became part of the work itself. What was added was not only ink, but experience sedimented through duration.

That is why TELETEUB is not just a large drawing or an absurd character. It is a time container. A surface where experiences, encounters, memories, and wounds kept depositing themselves until the whole thing became dense with meaning. Its scale matters because the piece had to be able to hold all of that. It had to become gigantic in order to contain the weight of a year.

So even if at first impact it may look ironic, sexual, or provocative, for me it is also deeply personal. Every addition inside it is connected to a specific moment. In that sense, TELETEUB is not only an artwork, but a map of lived experience, built slowly over time through excess, memory, transformation, and the same patience through which tattoos themselves come into being.

Since this is one of the most important pieces of my career so far, it will also require a dedicated installation. It will be framed and installed by a team, following certain dynamics based on the taste of the buyer, the place where it will be exposed or conserved, and my own personal vision of the work. The piece will also come with a book in which everything is explained: the process, the layers, the personal events, and the meaning behind the different elements. So rather than being told in person, the work carries its own narrative with it, in a form that becomes part of the piece itself.