Cell, 2022
steel, stained glass, obsidian stone
185 x 80 x 80 cm
Cell is an open octagonal box similar to the sensory isolation boxes. Opposite, the is a stained glass window representing the vault of the Mycenae toloï (Clytemnestra’s tomb). The body-sized interior houses a fragment of anthropomorphic obsidian. This vitrified mineral bears witness to what remains, the substratum, of a larger body. This potentially penetrable sculpture takes its place as a body-transporting element on the vertical axis, with a descending movement. A sculptural allegory of a return to the chtonian, to a poetry beneath the surface.
steel, stained glass, obsidian stone
185 x 80 x 80 cm
Cell is an open octagonal box similar to the sensory isolation boxes. Opposite, the is a stained glass window representing the vault of the Mycenae toloï (Clytemnestra’s tomb). The body-sized interior houses a fragment of anthropomorphic obsidian. This vitrified mineral bears witness to what remains, the substratum, of a larger body. This potentially penetrable sculpture takes its place as a body-transporting element on the vertical axis, with a descending movement. A sculptural allegory of a return to the chtonian, to a poetry beneath the surface.
STIGMA, 2022
steel
14 x 4 x 5 cm
steel
14 x 4 x 5 cm
Aria, 2021
230 x 70 x 40 cm
wood, steel, copper
Aria is a vented monolith that reveals its own interstices. The eye can partially penetrate the sculpture’s interior, but the tangle of planes never allows it to go very far. Marked by the piece Sull’aria in Mozart’s Marriage of Figaro, Aria leaves open paths for the eye where a breeze of air can circulate inside the form. Its steel epidermis gives way to a more open zone where its inner inferno animates the form. Aria invites the viewer to watch its shape modulate, giving it a cinematic quality, a game of appearances and disappearances that makes it impossible to grasp in its entirety.
230 x 70 x 40 cm
wood, steel, copper
Aria is a vented monolith that reveals its own interstices. The eye can partially penetrate the sculpture’s interior, but the tangle of planes never allows it to go very far. Marked by the piece Sull’aria in Mozart’s Marriage of Figaro, Aria leaves open paths for the eye where a breeze of air can circulate inside the form. Its steel epidermis gives way to a more open zone where its inner inferno animates the form. Aria invites the viewer to watch its shape modulate, giving it a cinematic quality, a game of appearances and disappearances that makes it impossible to grasp in its entirety.
Raucus, 2021
118,5 x 139 x 20 cm
wood, steel, paper, pigments
118,5 x 139 x 20 cm
wood, steel, paper, pigments
Sans-titre, 2021
139 x 64 x 19,5 cm
steel, marble, granit
139 x 64 x 19,5 cm
steel, marble, granit
SAS, 2021
130 x 61,5 x 5,5 cm
wood, steel, copper
130 x 61,5 x 5,5 cm
wood, steel, copper
Carbonari figli, 2018
painted wood, steel, speakers, obsidian stone,
sound piece 12’ (bass, zampogna, cymbal, pipita)
110 x 107 x 200 cm
link : http://soundcloud.com/fran-ois-bianco/carbonari-figli
painted wood, steel, speakers, obsidian stone,
sound piece 12’ (bass, zampogna, cymbal, pipita)
110 x 107 x 200 cm
link : http://soundcloud.com/fran-ois-bianco/carbonari-figli
Carbonari figli is a set of five hollowed-out housings that exude the sounds of double bass and zampogna. These sculptures, derived from the construction methods of the carbonari, are arranged in a half-open mausoleum, a rumbling rib cage. They also explode in space and leave the possibility of crossing the sculptural and sonic landscape that they determine. A vertical partition of obsidian fragments nestles in the central element, dedicated to the diffusion of muffled, earthy sounds. The sound piece is like a breeze that flows from one cavity to another, faithful to the aerial sounds of the zampogna. Carbonari figli is a breath, a breath of an ancestral culture that tries to survive its own consumption.
Fuga, 2018
steel, copper
165x35x45 cm
Fuga is a sculptural transcription of the sound emitted by the meeting of fresh and salt water in Assini Bay, Ivory Coast. This meeting point
forms the crest of a wave in the middle of the water. Friction between hot and cold water, copper and steel. Its geometrical volume, somewhere between the roll of the wave and a undersea animal, hints at the oscillating energy moving within.
steel, copper
165x35x45 cm
Fuga is a sculptural transcription of the sound emitted by the meeting of fresh and salt water in Assini Bay, Ivory Coast. This meeting point
forms the crest of a wave in the middle of the water. Friction between hot and cold water, copper and steel. Its geometrical volume, somewhere between the roll of the wave and a undersea animal, hints at the oscillating energy moving within.
Rullo, 2018
painted wood, steel
38x38x200 cm
The principle found everywhere in nature : growth. Inspired by the cultivated areas of Ivory Coast, Rullo highlights a principle of inner unfolding made up of entanglements, ascending
and descending flows. A mechanism in which rhythms are punctuated by interstices towards the interior of the sculpture’s body. Monolithic in appearance, it contains a white, undifferentiated zone, capable of moving beneath the steel epidermis.
painted wood, steel
38x38x200 cm
The principle found everywhere in nature : growth. Inspired by the cultivated areas of Ivory Coast, Rullo highlights a principle of inner unfolding made up of entanglements, ascending
and descending flows. A mechanism in which rhythms are punctuated by interstices towards the interior of the sculpture’s body. Monolithic in appearance, it contains a white, undifferentiated zone, capable of moving beneath the steel epidermis.
Lésions (extract), 2018
typographic poem
60x60 cm
photos © Götz Arndt
typographic poem
60x60 cm
photos © Götz Arndt
Lésions is extracted from a set of poems passed through the computer transcription system. Some of the data has been randomly edited to leave only a fragment of the original text readable. However, the presence of a cubic writing sequence, testifies to the past locations of the textual content. Close to the functioning of memory, what remains accessible opens up a phantasmagorical and partially hermetic path as to the origin of what has disappeared. The extract presented refers to a distant, altered time. However, it retains its historical and geographical essence, like the still visible fragments of the mosaics that tell us a little more about where we came from.
Spinta II, 2018
concrete
216x32,5x155 cm
concrete
216x32,5x155 cm
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Spinta, 2016
concrete, steel
300x170x180cm
concrete, steel
300x170x180cm
66th Jeune Création, 2016
ΗΤEΛEYΤΑIΑΠΝΟΗΤΟYKYKΛΩΠΑ, 2015
'Le dernier souffle du cyclope'
concrete
196x50x65 cm
'Le dernier souffle du cyclope'
concrete
196x50x65 cm
Octone, 2014
steel, concrete, marble
185 x 80 x 80 cm
steel, concrete, marble
185 x 80 x 80 cm
SPECIMEN Mute, 2013
steel, matrix, marble, caoutchouc
136x28x42cm
steel, matrix, marble, caoutchouc
136x28x42cm
SPECIMEN Unknown, 2013
tape recorder, marble
126x28x42cm
tape recorder, marble
126x28x42cm
Joïk, 2013
MDF, audio system,
sound piece 9’39’’
300x270x60cm
soundcloud link : https://soundcloud.com/fran-ois-bianco/joik
MDF, audio system,
sound piece 9’39’’
300x270x60cm
soundcloud link : https://soundcloud.com/fran-ois-bianco/joik
SPECIMEN Unknown, 2013
16 steel stripes
198x113x0,8cm
16 steel stripes
198x113x0,8cm
SPECIMEN Unknown, 2013
steel, copper, piezo
variable dimensions
steel, copper, piezo
variable dimensions
Substance, 2013
steel, copper, piezo, aluminium, caoutchouc, marble, concrete, tape recorder
variables dimensions
steel, copper, piezo, aluminium, caoutchouc, marble, concrete, tape recorder
variables dimensions
The installation Substance is composed of sculptures, audio recordings and video. The group of forms called SPECIMEN is an assembly of audio and sculptural elements. These two entities work like couples. They become the sculpture by merging : an encounter between diverse audio elements and steel structures, concrete, marble, rubber, etc. These contrasts between the textures of the materials give rhythm to the sculptures.
Joïk is an overlapping of a succession of white boxes. The boxes have cavities where speakers emit sounds.These sounds are recordings of vibrations travelling through the materials. This architectural landscape is erected like a rampart, a border between the space occupied by the sculptures and a second space, in this case empty, in which a video of mental images is projected.
The video depicts an accumulation of saturated images from the past: drawings, collages, photographs are projected in a deconstructed way over one of the exhibition walls. In other words, images appear over the architecture that hosts the installations. These memory fragments are perceived as luminescent remnants.
Tuska, 2012
steel, piezo, FX pedals, audio system
variable dimensions
Tuska is an installation only established by steel and audio devices. These sculptures are used as producers of echos through an intuitive musical construction. The original matter’sound become allied to its distorted counterparts.
steel, piezo, FX pedals, audio system
variable dimensions
Tuska is an installation only established by steel and audio devices. These sculptures are used as producers of echos through an intuitive musical construction. The original matter’sound become allied to its distorted counterparts.
Disease, 2011
concrete, tar
250x180x60cm
concrete, tar
250x180x60cm