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Jean-Pol d. Franqueuil was born near Paris, France and grew up in various parts of Africa and Western Europe.  His diverse background first sparked an interest in international politics and at age 16 he became a published political cartoonist and began a career in print that lasted many years.  His works have been published in many European publications as well as The New York Times, U.S. News and World Report and  The International Herald Tribune.

Eventually, he became dissatisfied with creating work dependant on other peoples’ news and turned to painting.  “I felt it was time to create my own direction in my work.”  the artist declared when making the switch.  Franqueuil has lived and worked all over the world, including Europe, Africa, Asia, and North America and his creative journey is no less varied.  His body of work encompasses drawings, paintings and sculpture: caricatures and cartoons, portraits, his own “beyondism “ style, contemporary impressionism,  countless commissioned pieces and large scale sculpture. After experimenting with different styles and approaches, his present mode of expression combines his lifelong interest in political and social subjects with their relationship to the patterns of everyday life. “Surrounded by the white noise of daily existence, we seem to lose sight of what should remain the most vital in our society.  Too much trivial information dilutes our ability to sort out the true inspirations of our modern world.” says Franqueuil.

In his latest works, Franqueuil demonstrates the blend into anonymity of the ideas and objects which should otherwise remain in the forefront of our concerns.  Like the repeating designs in his work that wrap and soften symbols of stark subjects of our global culture, the fabric that envelops our day to day life shrouds our lives creating a convenient loss of real dialogue and a buffer against the uncomfortable attentions we would otherwise encounter consistently.

In the Fragrance Paintings, Franqueuil’s work plays with interconnecting patterns as a metaphor for the wafting sensations triggered by opening a bottle of perfume.  Selecting renowned names in fragrance, he proposes a conversation with the viewer on what these famous scents evoke, instantly transporting them back through the visual representations to an association linking the olfactory imprint and the emotional response.

By consideration of our relationship with our contemporary culture or by reflection on the permeation of memory, Franqueuil uses these patterned depictions of his artistic perceptions as a visual tool allowing him to elaborate on the concept of time-  our past experiences influencing our response to the present.