Antoine DUFILHO
There is an almost palpable bond between the names Dufilho and Bugatti, forged through the passion of several men.
It was first Jacques, Antoine's great-uncle, who had the good fortune to collect Bugattis. This immense passion was passed on to his nephew, and naturally, just as one passes on a genetic heritage, the torch was passed to Antoine.
It is by being aware of one's roots that a man can grow. Antoine Dufilho knows them, his roots, which are steeped in art and medicine. His work proves it.
As a child, Antoine Dufilho was introduced to the visual arts by his great-uncle, an actor, painter, and sculptor. Later, medical studies allowed him to discover and dissect the complexity of human biomechanics.
Architecture studies then led him to a new approach to sculpture, particularly toward working with the skeleton, which, once exposed, reveals a succession of solids and voids, bringing lightness and dynamism to the overall form.
Antoine Dufilho is self-taught. He experiments with different techniques such as casting and welding to gradually build the aesthetic of his art around this characteristic DNA; he began to devote himself fully to it in 2012.
A graduate of the Lille School of Architecture and Landscape Architecture, he was able to design and build the studio in the Lille countryside, using shipping containers, where all his works are created.
It was therefore only natural that Antoine Dufilho embarked on the design and construction of monuments like the Chrysler Building and historical symbols like the Eiffel Tower and the Statue of Liberty.
This is truly a new step for Antoine Dufilho, who has used his passion for automobiles and his knowledge of architecture to learn sculpture and various techniques, to put different concepts into practice, and more generally, to discover his style.
He now wishes to apply his work on the representation of movement and lightness in abstract art, which will allow him to take his art even further.
His work consists of exposing an alternation of full and empty spaces, materializing a skeleton, breaking down the forms into successive layers. Movement is created by this sequenced representation.
The artist thus offers us a kinetic vision of a static object, notably thanks to the observer's wandering, which allows for a different interpretation depending on their vantage point.
The dynamic effect is accentuated by an alternation of symmetries and asymmetries, creating an effect of acceleration or deceleration.
