Alfonso Artiaco gallery is pleased to announce the first solo show by Michel François, Friday 14th of September, 2018 at 7.30 pm, the artist will be present.
Michel François (1956, lives and works in Brussels) bases his practise on the tension of materials, on the resulting balances and the contaminations of plastic forms, on a fictitious loss of control always calculated yet unpredictable.
Using objects of common use or industrial waste, extrapolated from their context, the Belgian artist proposes a modified reality in which the opposites seem to float in a state of precarious balance, always aimed to a possible change.
For his first solo show at Alfonso Artiaco Gallery the artist presents a series of sculptures, installations and photographs, thought specifically for the gallery space in Piazzetta Nilo, and, to a large extent, produced in the last few months in Campania, aimed at making the works on display highly site-specific.
In Vietri sul Mare, at Santorielab, three large bas-reliefs of an octopus have been created. An organic hyper-realistic form crystallized in ceramic, in which the elegance of glazes seems to contrast with a suffused violence expressed only in power, of an animal that, emerging from the dark background, is about to explode its ink. In the same manufacture of Vietri, two spheres have also been modeled and painted, with an ambiguous meaning (could they be an eye? - a head? - a womb?) that seem to appear out of nowhere, as if expelled from the white of the wall.
As much as the ceramic is, at its initial stage, soft and malleable also the aluminum, another recurrent material in the show, used by the artist to compose four sculptures whose material was get thanks to the precious collaboration with "Laminazione Sottile" in San Marco Evangelista.
The transition of the aluminium from fluid and incandescent state to solid and hardy seems to naturally support and get along with the artist's research, in this tension of expansion and contraction.
Thus a random cast of molten aluminum is transformed into an abstract sculpture and a long ribbon of aluminum is converted into a sort of circular labyrinth.
While a large cube of disordered compacted aluminum scraps forms a monumental sculpture, irremovable and precarious at the same time. A sort of elegant entropy seems to govern the exhibition, in which cubes of burned wood leave their mark on the walls as meteors, four photographs portray moments of apparent calm.
The works on show propose forms of apparition and disappearance, in which the material seems surprised in an indefinite movement of time. Everything is still in a sort of fragile state, interrupted shortly before its dispersion.