A student of Philippe Garel and Robert Savary, he first chose volume for his first works before devoting himself to painting. From 1994 to 2008, his canvases are covered with a thick paste that he engraves with a pencil delimiting the refined contours of successive planes in the manner of a theatre set. Themes and objects from everyday life are scripted, sometimes elevated to the rank of "modern icons" with the addition of gold leaf.
From 2009 onwards, he returned to realistic drawing, maintaining the matt backgrounds that transform the canvas into a bas-relief. The theme of Rouen Cathedral is a perfect match for the technique used and an ideal support for some iconoclastic digressions.
The leitmotif of his creations, the small skeletons, baroque vanities or macabre dances inspired by the Aître Saint-Maclou, already present in the form of narrative friezes in the earlier paintings, take on this new subject. From now on the "skeletors" proliferate in a playful chaos. Links of a genetic and patrimonial code, they compose strange entities that François Duboc has not finished painting.
