Outside the world of Art Fiduciaire, few people know about the creative individuals at the source of our currencies’ design. Even less would imagine the incredible imaginative spirit animating them.
Nestled by Lake Geneva’s shores and the Swiss Alps, the city of Lausanne is surrounded by Nature, from its early days thousands of years ago to be named the world’s Olympic Games Capital by the end of the twentieth century, Lausanne has embraced a multifaceted life through a dynamic culture of art and innovation. This is where Carlos Almenar and Yohann Naviere met with Philippe Mermoud, during their visit to one of the most prominent industrial money machinery manufacturing.
A Passion for Drawing
Philippe Mermoud started his career with an apprenticeship as a building draughtsman. While pursuing to work in the profession for four years, Philippe realised he wasn’t entirely satisfied with this job and made a decision that change the course of his career, enrolling in Graphic Design at the University of Art and Design Lausanne (ECAL). Recalling his experience as a student, Philippe explains:
“In the middle of my studies, the first computers appeared and these new tools immediately fascinated me. So I started a specialisation, after 5 years in Graphic Design, in a new section of the ECAL dedicated to computer tools for graphic creation.”
After completing his education, Philippe answered to a job offer at the company where he has continued to practice his design skills ever since. Back in the days, the company was called De La Rue Giori (now Koenig & Bauer), a world leader in banknote printing, where Philippe started his true career as a banknote designer.
Evolving from drawing as a building draughtsman to the highly specialised world of banknote design meant a change of scale in drawing, Philippe enthusiastically evokes:
“I used to work to the millimetre in my first profession, but now I was diving into the world of the micron! So I started designing banknotes and discovered the guilloche (*) and security backgrounds, often formed by intersecting lines. Although I loved designing these line backgrounds, I was frustrated by their small size. As I worked and zoomed in on some of them, I increasingly caught glimpses of artistic work. A personal occupation was born, inspired by my professional work, but at a larger size.”
Freedom and Glee as a Language
As an artist, Philippe Mermoud tells us there are many different styles that interests him, from prehistoric to Contemporary Art, emphasising on a movement closest to his work being Op Art, specially works from French artist Joel Stein, English artist Bridget Riley, Venezuelan artists Carlos Cruz-Diez and Jesus Soto to name a few. Also closer to our time are artist Philippe particularly likes such as Swiss artists Pe Lang and Yves Netzhammer, US artist Matthew Shlian, English-Canadian artist David Spriggs amongst others. Philippe also quotes French journalist Antoine Spire as a source of inspiration:
“Each language is infinitely rich and offers its own grid of the universe”
Antoine Spire, 2001
To Philippe, every artist has his or her own personal themes stemming from his or her life experiences:
“Architecture, my first professional immersion, is also a variation on the theme of grids. Unconscious at the outset, this thread took shape in me, and I chose to follow its path in part through plastic expression.”
During his studies, Philippe had already created and interpreted a work on gratings. When it came to intersecting lines, I was also fascinated by certain books like “La nouvelle grille” (The New Grid) by Henri Laborit. A doctor, surgeon and neurobiologist who developed a grid for all aspects of humanity and society.
“My artistic influences are also rich in encounters and professional destinies that intersect. Lines, curves, strokes, a jubilant freedom, an offered musical rhythm, repetitive but not rigid, just like certain symphonic works by Philip Glass.”
Creative Technical Challenges
Philippe’s creative process usually starts with a fixed element that he develops in many variations:
“Computers are obviously my main tool. I use different drawing software to come up with what I want to achieve. Then I print it out using high-resolution inkjet on cotton paper, like banknotes. The current format is no larger than A3+ but in the future, I would like to experiment with larger formats.”
Reflecting on the specifics of currency drawing, engraving and banknote concept designs, Philippe explains:
“Creating a banknote is always a challenge. It’s a complex task, which combines imagination, creativity, technology and security. From design to final production, it’s a new challenge every time for everyone involved. From designer to printer. That’s why it’s such an interesting and fascinating world.”
Humble and Soft-spoken
We asked Philippe how his art is perceived by the public:
“For the moment, my work has remained very confidential and only a few people have seen it. I intend to continue it and create one or more exhibitions, a website and publish on social networks. As I feel like I’m running out of time now, this will become my main occupation when I retire, which is very soon.”
When asked about the feedback from the banknote industry:
“I generally get positive feedback. From a professional point of view, the astonishment that my work arouses in everyone always surprises me. We use banknotes every day without giving much thought to the work involved in designing and manufacturing them.”
In the Arts world, there are artists whose purpose is to spread messages in bold creations, where other creatives silently look for an emotional response from the observer. Philippe appears to be part of the latest:
“I don’t have any particular message to get across. I simply hope that my work can awaken people’s sensibilities, as certain works by other artists can awaken me. For me, the use of mainly black and white has the ability to take us to the edge of visibility, where something meditative can emerge and become perceptible. I like to think that looking at my intertwined forms awakens the imagination. If that were the case, I’d be very happy.”
At the Confluence of Money Art and Art Fiduciaire
Contemplating on the creative explorations between Art and Currency, Philippe elaborates:
“Coins and banknotes have been used in art for a very long time. Andy Warhol and Hans-Peter Feldmann, to name only two, have used them in some of their works. However, Banknote Art Concept has introduced me to a large number of artists who use banknotes or coins as a medium, and I find Banknote Art Concept’s approach of seeking them and bringing them together very interesting.”
As Banknote Art Concept continues its unique mission, to bring together the creative minds at the beginnings of currency production and those at the end of its life-cycle, Philippe acknowledges:
“Thank you for inviting me to take part in this project, although I don’t use banknotes as a medium but simply as inspiration. I can only encourage Banknote Art Concept to continue in the same way, because for sure, I’m not the only one, and I look forward to discover new artists.”
(*) Guilloche: bands of thin intertwining lines, traditionally used for security printed documents such as banknotes, used as a protection against counterfeit and forgery, they also add aesthetic value (source: IJISET – International Journal of Innovative Science, Engineering & Technology, Vol. 3 Issue 10, Oct 2016).
Be inspired
Explore Philippe mermoud’s Gallery
Featured image: “Philippe Mermoud,” “Untitled n° 43_12” © Philippe Mermoud, Philippe Mermoud via Banknote Art Concept.
Quote source: © Antoine Spire, Le Monde de l’éducation, Jul-Aug 2001.
Images sources: “Round Grid n° 60” Detail © Philippe Mermoud. “Grid n° 3” Detail © Philippe Mermoud. “Untitled n° 117_1” © Philippe Mermoud via Banknote Art Concept.
