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| Richard wears a timepiece by Hublot, a Paul Smith suit and Puma shoes. |
Richard Orlinski is an artist who never waited for the art world’s permission to exist within it. Two decades after first presenting his work, he stands not as a product of the system, but as a challenge to it. What began with clay sculptures shaped in a school oven has evolved into a global language of faceted animals, high-gloss color, and cultural immediacy, art that refuses to whisper when it can roar.
“I broke the rules by coming in through the window when the door was closed on me,” he tells us, a line that feels less like reflection and more like a manifesto.
Celebrating 20 years of a career built on instinct rather than approval, Orlinski has carved out a space that blurs the boundaries between art, entertainment, and everyday life. His work, accessible, emotional, and deliberately unfiltered, rejects elitism in favor of connection. Whether through his iconic gorillas, unexpected collaborations, or ventures into music and design, he continues to expand what it means to be an artist today.
Fashion Editor & Stylist: Victor Concepto
Photographer: David Tenori
Filmmaker: Maissane Fritz
Makeup Artist & Hair Stylist: Maude Gobet
Location: Studio Alto, Paris
AM: Looking back, when did your relationship with art truly begin, and how did those early instincts shape the artist you are today?
Richard Orlinski: Around 20 years. I first presented my work about twenty years ago, in 2006. But it really started much earlier, at school, where I loved creating small clay sculptures that I would bake in the oven. I was very enthusiastic and would give them to my teachers. I made a lot of elephants at the time.
AM: In the beginning, what kind of recognition were you seeking, and how did that ambition evolve as your path unfolded?
Richard Orlinski: At first, I wanted to be recognized by the traditional art world. But since that proved difficult, I changed direction and discovered that popular art suited me better than an elitist approach.
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| Timepiece, Hublot. Full look, Zegna. Shoes, Daniel Essa. |
AM: Over time, has your artistic vision shifted, or has it remained anchored in a consistent philosophy?
Richard
Orlinski: No, there is continuity. I draw inspiration from current
trends and stay connected to my time. What matters is that my artistic
DNA remains the same: art for everyone, accessible to all, without
socio-professional or generational distinction.
AM: The art world can often be perceived as exclusive. How do you position yourself in relation to that culture?
Richard
Orlinski: It’s an oversized ego. Art is subjective. No one has the
right to say what is or isn’t art. People assign themselves credentials
and diplomas they don’t really have. You can judge technique, not art
itself.
AM: Your work spans multiple disciplines. How do you personally define your creative identity?
Richard
Orlinski: I am a creator. The label doesn’t matter. People can call me
whatever they want. I do theater, television, I’m a columnist… I’m an
artist in all forms, and I’m not afraid of wearing multiple hats.
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| Timepiece, Montblanc. Full look, Ungaro. |
AM: In a landscape that often values specialization, did you ever question that multidimensional approach?
Richard
Orlinski: No, that has been my approach from the beginning. Change is
quickly criticized, but in countries like the United States you can
explore everything. I broke the rules by coming in through the window
when the door was closed on me.
AM: Your sculptures often draw on the imagery of powerful animals. What originally drew you to that visual language?
Richard
Orlinski: I was fascinated by dinosaurs and powerful animals. I started
with the crocodile, an animal that has survived 300 million years and
embodies resilience in the face of cataclysms. But the gorilla became my
bestseller.
AM: The gorilla has become almost emblematic of your work. What does it represent to you on a deeper level?
Richard
Orlinski: It embodies King Kong: an ultra-powerful monster with a big
heart that protects the weak. It is 99.8% similar to us, it is an
endangered species, and it carries the full iconography of pop culture.
It’s easy to identify with it.
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| Full look, Yves Salomon. |
AM: Is there a particular moment where you felt this symbol truly resonated with the public?
Richard
Orlinski: Exhibiting it in unusual places: at the top of Courchevel,
along iconic drives, and especially in a former coal mine to pay tribute
to miners in forgotten regions.
AM: Color plays a striking role in your work. What emotional or symbolic function does it serve in your creations?
Richard
Orlinski: Color is life. I started with red because it symbolizes life
and blood. Colors bring joy; they evoke childhood. Every week, I receive
new samples with different shades, materials, and transparencies.
AM:
Collaboration seems to be a key part of your universe. You’ve partnered
with Puma, Hublot, Dupont and many more, what defines a meaningful
creative partnership for you?
Richard Orlinski: It’s like a marriage:
you need to share the same desires, intentions, and values. The idea
isn’t to be the locomotive or the wagon, but to create together in
service of the story we tell the consumer.
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| Timepiece, Montblanc. Jacket and shirt, Yves Salomon. Trousers, Zegna. |
AM: Beyond visibility, what tangible impact do these collaborations have on your work?
Richard
Orlinski: Yes, they generally generate between 10% and 30% additional
revenue. It’s not just about image: we create things that are useful and
functional.
AM: In today’s landscape, how have digital platforms shaped your connection with your audience?
Richard
Orlinski: They’ve been an integral part of it since 2013. They
eliminate barriers and allow direct communication with followers without
intermediaries.
AM: With the rapid rise of artificial intelligence, do you see it as a creative ally or a potential threat?
Richard
Orlinski: No, it’s a great tool for generating ideas. But it will never
replace human creativity. The danger is that it makes young people
passive: AI provides ready-made answers, so they no longer think, read,
or learn on their own.
AM: Looking back, what challenges have most defined your journey?
Richard
Orlinski: Rejection from the French art world. I don’t have the
credentials for major fairs or smaller ones either. But I built myself
despite that. My challenge today is to succeed in as many projects as
possible and share with the widest audience.
AM: Looking ahead, your projects span across unexpected territories. What drives this constant expansion?
Richard
Orlinski: A lot! I’m releasing a track in Afro House, preparing shows,
discussing the design of a satellite, video games, a line of designer
refrigerators and coffee machines. I’m also working on a bracelet using
electromagnetic impulses to improve sleep, and more broadly on projects
related to longevity. People live longer when they are aligned with
themselves. Personal balance and well-being reduce cellular aging. I’m
working on projects to improve quality of life and longevity.