Born in 1956
Lives and works in Brussels
Michael François presents his two year old daughter with a 10 kg block of chocolate which she attacks with vigour. He documents this attack and her embrace and later displays the block – or what remains of it, teeth marks and all – in a gallery setting. Likewise he requests the preservation of a lithographic stone from which animals which are native to New Zealand have been printed.
The photos and objects are leftovers and witness to a human interaction with the environment, a physical one at that. Even his sculptures, at first sight abstract are witness to a human physical impact, the dimensions may be an arm span, or the impression of a fist in clay. Even human relations are documented through physical impact. His wife’s bare shoulder bears an infinity sign. This too is photographed.
The images and dimensions projected are simple, direct, intimate and infinitely human. As is his approach. To the moment of completion of a project he is nervous and doubtful. Is there too much or too little? Is this enough? Is it right? He angers when asked to sign these works, he considers any element or even convention is insulting to the integrity of the experience, not only of the artwork itself but also to the memory of the situation and the moment of its creation.