I perceive the history of art, and more particularly the history of making works, as having no break; to this extent I see myself as a classical artist. A statue is a person made public. I make statues of friends, i.e. of unknown people whom the public cannot identify. When you look at a statue you look at a person who cannot see you; you become attached to the form of a being.
To produce his statues, Xavier uses industrial three-dimensional scanners (used to digitize objects and for 3D modelling in architecture).
Without structured light, the scanner projects a pattern (a grid) on the person to be scanned. It captures the grid image through the use of a camera which analyses the distortions caused by this grid.
The associated software translates this distortion into a set of points called a scatter graph (a matrix allowing the model to be reconstituted by extrapolation): the points are linked together to reconstitute the model.
Just like a photographic image which can be altered, 3D models can be subjected to a host of modifications and distortions with the right software (Rhino 3D, Lightwave or Rapidform).
Once the model’s characteristics have been selected by Xavier (faceting, grooving, polishing), the model is sent to Créaform which produces the physical model (in resin or wood) thanks to the use of a digital milling machine, and Enzyme Design for a sheet metal production.
These CNC-controlled milling machines, which are also industrial, enable these sculptures to be manufactured in various materials (resin, polyurethane foam, aluminium or steel...).
These machines enable the machining of a solid block in all directions with great precision with 1/10 of a millimetre.