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By seeking to distort the realities that surround him through simple elements, the use of know-how and materials abandoned and gleaned from others, François-Xavier's sculptures become surprising.

His identity is played out in a context of resourcefulness and handmade, that he voluntarily imposes himself as a decisive constraint in the existence of his work.

It is as much a desire for painting as for sculpture, by borrowing an ancestral definition designating sculpture as a removal of material and that of the painting composed of the frame and the stretched canvas.

The image that emerges from these compositions is, without a doubt, that of bladed weapons. However, each sign appears to us differently, tells us about one thing or another. Having fun reading the shapes, he scrambles the tracks, playing on the automatisms of each one.

A weapon instills in us a feeling of violence and danger. His own automatism consists in applying his perception of things thanks to these sculptures disarmed of their murderous functions in favor of a reappropriation of their ability to stick and cut.

From this is born the term

Hooked up ”, requiring a violent and energetic gesture in order to put these sculptures in situations.

In addition to this, you need to know more about it.

Arranged in this way, they change their status and become paintings. These compositions include the different characteristics that define it. Components such as wood constituting the frame, the fabric representing the canvas and the paint being applied to the wood. The work is sculptural but includes these different components that make it a painting.

In addition to this, you need to know more about it.

In addition to this, you need to know more about it.

In addition to this, you need to know more about it.

This work also questions energy and impact. Having as a tool a slingshot which calls upon various supports having the capacity to reveal the indelible marks of the impact which I designate as an instant T, an instant Shooting. The energy of this shot is then imprisoned

At sonic and imperceptible speed expressing a certain violence of impregnation of the form. Thus a semblance of emotion is transmitted, a certain reaction to the stigmata of an intangible gesture.

It would also be a question of developing an element which becomes sculpture, by definition, thanks to the removal of material. A transformation process that takes place only from a distance, a game in which he lets himself be guided by a slingshot which becomes the design tool for his sculpture-paintings.

Liking to work on feelings, intuition and link his work to a context which is not, a priori, that of war, he likes irreversibility, an omnipresent element in the design of his pieces. It forces him to do with what has been done without having the ability to change the past and requires some acceptance.

He brings to my work an aspect of poverty by privileging the process of action to the finished object. Its process then brings a questioning on a capitalist consumption where one likes to throw away before repairing, to buy rather than to recover. It constitutes a bellicose imagination of survivalist consumption, a warlike language of free creation to launch us towards new rites and habits.

In addition to this, you need to know more about it.

Impacts 2017

153 x 62 cm, 158 x 58 cm, 124 x 57 cm, variable height x variable width.
Slingshots in plaster, insulating foam, metal rods, wood, pebbles, paint.
ESBA Nîmes.

Impacts II 2017

105 x 76 cm, 50 x 75 cm
Slingshots in chipboard, paint, rope, wood, steel balls, hook.
ESBA Nîmes.


Impacts III 2017

173 x 28 cm, 129 x 26 cm
Slingshots in clay, paint, wood, steel balls.

ESBA Nîmes.

Knives (hung-planted) 2017

112 x 67 cm. Wood, paint, steel. ESBA Nîmes.