François Weil

En français

François Weil . In motion
In motion

François Weil . Sculptures

François Weil . Monumental pieces
Monumental pieces

François Weil . Engravings

François Weil - Tablos

François Weil . Filmography

François Weil . Publications

François Weil . Impressions

François Weil . Impressions

The Alchemy of Opposites - On the Work of the Sculptor François Weil

Art should be born of the material and the tool, it should retain the mark of the tool and its struggle with the material.
Kai U. Jürgens

Man should speak, but so should tool and material.
Jean Dubuffet, Notes for the Well-Read (Notes pour les fins-lettrés, 1946)

The first impression is one of a certain bulkiness: massive rocks, nearly un-worked-on, with metallic appliqués; crude steel struts clutching on to naked crag, clearly visible screws, jagged edges, rust. The boulders exude an air of something numb and lost, of something left behind, as if a giant’s hand had collected scattered chunks, and had haphazardly piled them on top of each other. The rough treatment these rocks have undergone has left its traces; no effort has been made to conceal the scar-like remnants of boreholes. Weld seams hold together the metal segments, the cut-out shapes of which are often sharp-edged, seemingly dangerous. Quite involuntarily, the term „artefact“ arises; an evocation of long-lost civilisation, and of archaic remnants of a highly evolved, mysterious technology. Only at a second glance do these works emanate their idiosyncratic beauty. Some seem to suggest figures: two rocks join to form a head and a hinted-at torso. Even birds – such as a crane – may be discerned, while other constellation conjure vestiges of knights’ armours. Walking around the objects, the viewer is intrigued by movable parts, by rocks attached to one another by hinges and pivotable axes. Suddenly, the factor of rotation is added, and these humongous lumps disclose their true essence as finely balanced constructions, their monstrous weight dissolved in precise movement. What at first seemed to be solid, heavy and immovable is now suffused with the opposite impulse, without losing its original character. Access to François Weil’s art is achieved by entering the opening between the opposites.

…To be continued

Member of Kineticus

François Weil Rocks Chambord
A documentary