As a Sculptor specializing in American and French period films, my art finds its core inspiration in human history. Intrigued by the deeds of visionary individuals and confronted by the darkest chapters of our history, the genesis of my artwork emerges from real events. Yet, the wars, dictatorships, politicians, or simple soldiers who populate my imagery are always presented with a fantastical element—a sort of inverted magic realism. This interplay between documented history and imagination has essentially evolved into a conceptual hallmark of my body of work, enabling me to engage with weighty subjects through a layer of apparent lightness.
Far from being the result of spontaneous combustion, my creations are nurtured by ceaseless technical experimentation, allowing me to achieve the desired level of expression. In my artistic journey, I share a kinship with the engravers of the early 19th century, such as Frans MASEREEL and Otto NUCKEL, whose spirit of rebellion is channelled into scathing black and white woodcut novels. I resonate with Germaine RICHIER’s sculptural exploration of material and visual transformation, as well as the cinematic worlds crafted by Fritz LANG (Metropolis, 1927) and Karel ZEMAN (The Fabulous World of Jules Verne, 1961), marked by dreamlike graphic settings and play of light.
However, my work eludes strict alignment with any particular art movement, as it springs from an unswerving need to articulate my personal vision of the world through a robust imagination. In the words of Masereel, I aspire “to bear witness to my time, to accuse and critique, and to celebrate through my creations the ambiguous grandeur of my era.” Indeed, my artworks probe the realm of political power and its potential misuse, along with the examination of past and present ideologies. They immerse the audience in the prominent challenges of our contemporary society, including the spread of propaganda in the digital and social media age. Resonating with the intricacies of human nature, the heroes within my work lack superhuman abilities; their mindset and courage are their sole weapons to confront the trials and tribulations before them.
Frédéric Glon established the ATELIER1867 in 2010 with the aim of working in cinema and producing his own works, including short films and engravings. Over time, these two activities were separated into two spheres, and Atelier 1867 has become one of the most important French workshops manufacturing props for films.
Configuring his props-maker workshop in a manner reminiscent of an artist’s renaissance studio, Frédéric GLON harnesses the demands of contemporary art patron – particularly within the realm of film productions – to hone his technical expertise and explore novel artistic forms. His repertoire extends to the reproduction of busts, bas-reliefs, historical artifacts, goldwork pieces, furniture, and architectural models, all meticulously crafted in accordance with period styles and materials. In recent years, he has lent his skills to numerous American productions, including LIONS GATE, APPLE TV, and NETFLIX, contributing pieces like royal scepters and antique weaponry.
Even as he dedicates himself to commissioned work within the cinema industry, Frédéric’s commitment to his personal artistry remains steadfast. So much so that he has created a stop-motion short film titled “Bertha and the Trench Soldier” and completed a graphic novel over the course of a decade, entirely executed in xylography, entitled “The Politician.”
Now, having earned recognition within his professional sphere, he embarks on the journey of unveiling his artistic creations to the public by leveraging the opportinities offered by the NFT universe.