When we set eyes on the creations of Malika Favre, it’s as if our entire imagination had been seized by a spiral of colours and patterns. Clear flat tints, asserted like an encounter between Pop Art and Op Art, two movements that evoke the sixties. A sort of time machine made of lines and counter-forms where simplicity reigns supreme. This instantly recognisable style has enabled Malika to rise to the ranks of the most sought-after visual artists of the day. To her credit: campaigns for some of the biggest brands but also – and above all – covers for the highly respected The New Yorker magazine. A dream that became a reality for this Parisian exile around ten years ago in London. But she didn’t actually choose this city. Her time at university ended, an internship came up and the exuberant and creative aspect of life in the British capital were what swung it. Having been seduced by the city’s charms, Malika made the most of her freedom. An attitude that she will never be without. Without really thinking about it, the illustrator was awarded one contract after another. She travelled far and wide and often. From one port of call to another, the collaborations came thick and fast and her world expanded. Driven by a personal desire to succeed, Malika gradually saw her plans come together. While we were with her, she told us about some of them, with a smile on her face. A possible future installation in Barcelona, an exhibition inspired by the Crazy Horse and its graphic lighting effects, and also a new collaboration with the designer Alice Balas. Encounter.