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Michel François has a way of transforming ordinary materials into something poetic and unexpected. He works with simple, often disposable things—plaster, plants, polystyrene, soap—and reveals their hidden potential. His approach shows that meaning isn’t fixed but shaped by context, and that even the most unremarkable objects can carry deep significance.

A key idea in his work is the ‘rhizome’—a plant stem that grows underground, branching out endlessly without a clear beginning or end. For François, this is a perfect metaphor for his ever-evolving creative process. His works shift, reappear in new configurations, and take on different meanings over time. A single image, sculpture, or installation is never static—it continues to grow, change, and connect with new works and ideas.

In his photography, François captures fleeting moments, often focusing on the overlooked or the impermanent, encouraging viewers to see the everyday in a new light. By emphasizing the passing and the ephemeral, his photographs reinforce the idea that everything—whether an object, a moment, or an artwork—is in a constant state of change.

Savon Femelle is a 1991 photograph of a hand gently stroking the inside of a soap sculpture. The sculpture is part of a pair, a male and female form, reflecting François’ ongoing exploration of dualities—hard and soft, presence and absence, permanence and decay. Now, almost 35 years later, the image takes on new layers of meaning in public space. In a world where physical touch has become more charged—whether through screens, hygiene concerns, or conversations about consent— Savon Femelle resonates in ways it didn’t before. By bringing this image back in public space, François invites us to see it in a new light, allowing his work to keep evolving, like the rhizome itself.