Liam Mojique Legault is an award-winning artist and entrepreneur originally hailing from Vancouver, B.C., Canada. He has created and exhibited his bold, often chaotic works throughout Canada, the U.S., and Europe, from small towns to cultural meccas like Los Angeles, London, and Paris. Initially a graffiti artist, Legault has gone on to produce large-scale murals, mixed-media prints, and a vast portfolio of fine art. His style draws inspiration from street art, pop art, and abstraction, including hard edge painting and gestural mark making, with compositions that are clashing and random yet utterly intentional—and perfectly balanced.
Legault’s most recent endeavour is a foray into textiles, primarily the creation of fresh, bolder-than-ever abstract designs printed on Mulberry silk accessories (cultluxury.com). These designs are inspired by and formed from deconstructed bits of World War II propaganda, newsprint, and Vogue editorials from the 1940’s to 1960’s, as well as ink, acrylic, spray paint, and other mixed media. With connotations of rebellion, revolution, and luxury, the artist’s newest pieces reflect even more perfectly his unorthodox techniques and far-from-traditional worldview.
A profound exploration of the dichotomy between disorder and harmony defines his body of work. This dichotomy extends, too, into Legault himself, considering his manic creativity and serious business savvy. When asked about his process, he describes himself as both obsessive and methodical. He plans his time and his projects with purpose, championing the importance of good business strategies and intentional learning. “But when creation takes hold,” he says, “it’s a different mode of being. I’m looking within, looking to make some peace and beauty out of chaos and darkness. The bottom line is, whatever you create has to come from you.”
In 2018, Legault won Visual Artist of the Year through the Wood Buffalo Excellence in Arts Awards, as well as a spot in Fort McMurray Magazine’s “Top 50 under 50” for his contribution to art in the community.
Far-from-ordinary techniques have a certain power. My art is often surreal, cerebral, dreamlike; it implies a sense of intentional disorder and balanced rebellion. It can be unorthodox and self-contradictory—objects that shouldn’t work together are joined seamlessly; clean, smooth lines are broken, brushstrokes made messy, shapes distorted; antiquity and modernity are placed side-by-side. I create in ways that come naturally to me, even if those techniques are considered improper.
I started out in graffiti, moved to clean, geometric painting, then onto collage and mixed-media. Here I found my most natural, primal, and vulnerable artist-self.
My art is a narrative exploration of my roots and the morals instilled in me from my beginning. I was raised on Bob Marley and the Beatles, on Women’s Rights and Anti-Apartheid politics, on the obligation to fight injustice. Having been raised by a vocally feminist mother, I am instilled with the understanding that with my art comes the ability to start hard conversations. I believe it is my obligation—not to try and be the face or voice of anything, but to strike questions into the hearts of humankind; to raise the issue at hand and hold it steady, regardless of scrutiny, acclaim or disdain.
From how I was raised, making waves, making art, to the ways that I’ve tried, failed, succeeded, and tried again, it’s all come together in this new format of mixed media collage. my strange amalgamations of spray paint, acrylic, ink, newsprint, oil pastel, fine liners, paint markers, and so much more, have become my vehicle for story-driven rebellion. My goal is to make people not just think, but talk.