BiographyEqually relaxed painting as he is sculpting and setting up installations, François Bel expresses himself using inlays in glass, aerial suspensions and modelled wire in his complex pieces, which claim to be just as eclectic as his inspiration. But whether he is working with numerous mediums or just one, his approach is always the same: using the distraction of familiar objects to question modern society, its individualism and habits of consumption. Using an offshoot system, inherited from Street Art, Pop Art and New Realism, the artist rethinks the reality of materiality. By locking day-to-day objects behind bars, hanging them in the air, or trapping them in blocks of synthesized glass, the artist exposes a stationary state which is both sublime and critical. Frozen in a rupture, explosion or levitation, they solidify with grace in a sort of aestheticized recycling and gain a completely new meaning. The juxtaposition of the criticism of consumerism and the poetry of recycled materiality, within his leaping, magical objects and little, incrusted ‘big bangs’, allows them to represent our dreams and repressed indignation. By mixing anger, frustration, fascination and sacredness, the artist is finally able to uniquely convert the worries of our society into physical representations. These artworks defy the laws of gravity and the logic of time to confront our own fragility with their changelessness. In an increasingly fast-paced society, where all is destined for obsolescence, Francois Bel puts forward the idea of reaching into this “other” space of unresolved objects and “moments” to try and stop time, the time that passes, consumes us and undeniably survives us!
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