Since 1992, the recognisable motifs of L.E.T. have been appearing in his hometown of Düsseldorf, sprayed on paper and then pasted on walls. The stencil artist's pseudonym stands for Les Enfants Terribles, a designation traditionally reserved for outsiders in the art world. Originally from France, L.E.T. actively alludes to familiar themes and styles, especially the charmingly provocative humour of British street art. He reinterprets existing works in his own distinctive way, focusing on imagery with a strong symbolic message; he borrows elements from other popular artworks, giving them new meaning and actively developing the ideas of his peers. His techniques and visual language also refer to classic works of street art. These parallels in articulation are a conscious homage that enables him to enter into a dialogue with other street artists. However, his works also convey critical messages that question our consumer and entertainment society. L.E.T.'s artistic career has spanned many international group exhibitions and street art conventions.
The tent (installation) represents the state of the refugee camp and the life of the refugees on Lesvos.
European politicians use the camp as a deterrent in order not to have to grant asylum to people fleeing war and terror. Accordingly, the living conditions are inhumane and more than unworthy of Europe.
This is the first part of the installation, the second is in the bunker of the MUCA.