Influenced by graffiti and street art—from which he borrows the concept of variation —the artist also identifies with the movements of “New Realism,” Arte Povera, Dadaism, and Pop Art. Like Duchamp’s ready-mades, he repurposes everyday objects and offers a different, critical perspective on them.

In both his installations and sculptures, he plays with the idea of compartmentalization and decompartmentalization, evoking the individualism and materialism of our contemporary society.

His “Big Bangs”—on a human scale, embedded in acrylic glass—freeze the explosion in an instant, propelling us into the abyss of time as it passes, fades away, and undeniably outlives us.
Glitches, accidents, and derailments interest him as catalysts for a shift in perspective on subjects, and thus a step back from the context.

Transparency is his medium; the space between elements is essential: just as with thought, emptiness and pauses are necessary to develop reflection.

A composer of decomposition, objects and various materials are the true “humus” of his creations. He plants moments like a gardener of time and attempts a form of creative destruction.

In a society where everything is moving faster and faster, he crystallizes everyone’s dream of pausing time for a moment, and ultimately calls for contemplation and exploration.

Blending fascination and frustration, his sculptures reflect our times. They encapsulate our anger and our rebellions, confined by economic, cultural, social, and political contexts.

François Bel currently lives in southwestern France.