French artist Denis Defrancesco is currently presenting his work KingKongBalls XXL at Sculpture by the Sea in Sydney. Denis Defrancesco is a multi-faceted artist who uses sculpture and painting as just a few of his mediums. We chat with him about KingKongBalls XXL, humour in art and the way he treats the themes of nature and humanity in his work.
Is it the first time that KingKongBalls XXL or any of your works is exhibited in Australia?
Yes, this is the first time I’ve exhibited any of my work to the general public in Australia, but I hope it won’t be the last..
When did you create KingKongBalls XXL and what inspired you? Are there smaller versions of it?
KingKongBalls XXL was enlarged in 2019 from the original 2017 work. I created KingKongBalls in human size (1.70 meters) in 2017, in the workshops of Carrara for the design and Gambellara for the foundry. Both workshops are located in Italy.
At the time, I was looking for an image to express my freedom, and I came across an amateur photo of a nonchalant bonobo, adopting a human posture and observing passers-by at the San Diego Zoo. I said to myself, “There, that’s the one.” This monkey, his posture, his attributes, his freedom to be himself represented exactly what I was looking for, a portrait of sorts, a description of my personality. I had to immortalize it in bronze.
Yes, there are smaller versions in bronze and Limoges porcelain:
- an edition in bronze, 35 cm, limited to 8 copies + 2 artist’s proofs, numbered and signed;
- an edition in bronze, 20 cm, limited to 25 numbered and signed copies (sold out);
- an edition in bronze, 15 cm, limited to 50 numbered and signed copies; and
- an edition in Limoges porcelain (biscuit porcelain), 25 cm, limited to 25 numbered and signed copies.
Was the work commissioned? If so, by whom?
Not at all, I produced it without any outside help.
What emotion do you hope to evoke with KingKongBalls XXL?
My aim is to make people happy. Looking at this work, I hope it evokes a feeling of freedom, of having had the audacity to create it to provoke a smile, then a laugh. In short, to offer a moment of happiness through this expression of freedom.
How have spectators around the world reacted, depending on their cultural background?
Surprise for 5 seconds, leading to reflection, then a smile, then laughter: it’s a provocative work that generates smiles. In any case, it leaves no one indifferent.
When you look at the hundreds of photos posted on the networks, you realize that there are no cultural barriers. All religions and ethnic groups have the same reaction, of which the smile is king.
Could you describe your creative process for this particular piece? How did it evolve from conception to completion? Is it made from a wax casting?
For KingKongBalls XXL, the creative process evolved quickly and organically, from the initial idea to the final realisation. It all started with a photo of a bonobo at the San Diego Zoo, which served as inspiration for the animal’s posture and attitude. From this image, I first made a small 20 cm clay figurine to visualise the work in three dimensions. This preliminary stage gave me a better understanding of volumes and proportions.
I then worked with a model-maker who took over by creating the life-size version in clay. This stage is crucial, because it enables me to faithfully translate the details and expression I wanted to give to the sculpture. Once this model was complete, a silicone mould was made, enabling all the characteristics of the clay model to be accurately captured.
The next step was to use this mould to create a wax model, a classic method for foundries. This wax model was then used to cast the 1.70-metre work in bronze in a single block, a technique that ensures solidity and precision of detail.
This process combines a traditional approach to sculpture, with moulding and lost wax, while incorporating a contemporary vision, particularly through the use of blue patina, which gives the work its unique and surprising character. This symbolic choice of colour reinforces the link between nature, freedom and daring, recurring themes in my work. The sculpture has evolved significantly since its initial conception, from a simple idea based on a photo to a monumental XXL work, 2 years after exhibiting the original work in Venice in 2017.
How much do the materials used to make KingKongBalls XXLcost ?
In 2019, the costs were already €150,000.
Did you consider not polishing the balls and waiting for people to rub them for good luck, as is the case with some statues around the world that have tarnished and polished over time because people have touched them?
No, I knew from the start that the balls would be polished. One of the statues you seem to be referring to, that of Victor Noir, a journalist buried in the Père-Lachaise cemetery in Paris, catches the eye for a particular reason. The protrusion of his trousers is often rubbed, in the belief that it promotes fertility or brings good luck in love.
What made you choose the colour blue for KingKongBalls XXL?
The blue patina chosen for KingKongBalls XXL is part of a strong symbolic approach, reminiscent of James Cameron’s approach in Avatar. Blue, the colour of spirituality and a link with nature, gives the work a universal appeal, making it accessible to everyone without distinction. As with the Na’vi, blue evokes peace, harmony with the environment and transcends human differences, inviting viewers to connect with this primordial figure and the nature that surrounds them. This aesthetic choice also creates a striking visual contrast that captures attention and prompts reflection.
You’ve named your statue KingKongBalls XXL, but it’s a bonobo and not a gorilla like King Kong. Is this for copyright reasons?
In the title of my work, ‘King Kong’ represents the extraordinary size of the balls, hence ‘ KingKongBalls ’. ‘XXL’ is simply the size of the sculpture compared to the original work presented in Venice as part of the Biennale in 2017.
My work represents a bonobo. For bonobos, sexuality is not just an act of reproduction, but also a way of strengthening social bonds, reducing tensions and resolving conflicts. Frequent sexual interaction requires greater reproductive capacity, which translates into relatively large sexual attributes. I’m not exaggerating, the attributes really are that big.
KingKongBalls XXL is a massive structure in terms of size and weight. What are the logistical requirements for transporting it around the world and installing it?
The logistical requirements are classic: transport by container and a double-axle flatbed truck with a crane for installation, or a large forklift.
You talk about a ‘certain idea of freedom’ in your work. How do you interpret freedom through your art?
Through this sculpture, I interpret my freedom as a bold expression of independence and refusal of convention. The relaxed posture of the bonobo, on a monumental scale and in an unconventional colour like blue, symbolises a rejection of rigid expectations, a way of claiming a space where you can be yourself, free from judgement. Freedom, in this work, translates into the ability to dare, to play with codes while inviting interaction and reflection.
The choice of the bonobo, an animal known for its pacifist social behaviour and sexual freedom, reinforces this idea of a natural, almost instinctive freedom that transcends the social constraints imposed by human norms. The fact that visitors physically interact with the work, climbing on it or touching specific parts, also contributes to this notion of shared freedom, where art becomes a space for play, exploration and spontaneity.
So, through this work, I see freedom as a creative space without limits, an invitation to question the rules and to embrace irony, humour and daring as tools for asserting one’s individuality.
How do you find the balance between intention and spontaneity in your artistic practice?
In my artistic practice, the balance between intention and spontaneity is found in the constant dialogue between the initial vision of the work and the openness to the unexpected. Each work is born of a strong idea, often linked to themes such as freedom, conformity or sexuality, which guides my intention from the start of the creative process. However, I always leave plenty of room for spontaneity, both in the production phase and in the interaction with the public.
The intention allows me to structure the project, to lay the conceptual and aesthetic foundations, but spontaneity often invites itself in the form of happy accidents or unexpected adaptations. For example, with KingKongBalls XXL, while the initial idea was to provoke reflection on societal norms with humour and irony, it was the interaction of the audience, particularly the children, that added a new dimension to the work, an innocent playfulness that I hadn’t fully anticipated.
I think that this balance lies in the ability to accept that the work lives and evolves outside the idea I had initially, while remaining faithful to its original intention. So it’s a question of cohabiting between the rigour of the intention and the fluidity of improvisation, where the final work can become much richer and more complex than what had been imagined.
Your work often deals with the themes of nature and humanity. How do you see this relationship evolving in contemporary art?
In my work, the relationship between nature and humanity is at the heart of my artistic exploration, and I find that this relationship is constantly evolving, particularly in contemporary art. Through works like KingKongBalls XXL, I seek to capture this tension between natural instinct and human social constructs. Using elements from nature, such as the animality represented by the bonobo or the gorilla, confronts viewers with their own biological roots while questioning modern cultural and social codes.
In contemporary art, this relationship between nature and humanity is becoming increasingly important, especially in the face of current environmental challenges. Artists play a crucial role in addressing these themes, not only to show the fragility of nature in the face of human activity, but also to remind us of the profound interdependence that exists between the two. My approach seeks to destabilise the traditional view, often using humour and irony to reveal these fundamental connections, which are sometimes obscured by social conventions.
What I find particularly fascinating is the way in which nature, in contemporary art, is often used not only as an aesthetic subject, but also as a vehicle for critical reflection on our relationship with the world. I believe that this dynamic will continue to evolve and strengthen in the years to come, in resonance with growing environmental concerns and the quest to reconnect humans with their natural origins.
What social or cultural issues are you most concerned to address through your art?
This work challenges social conformity, in particular rigid ideas about ‘correct’ representation in public art. By introducing humour into what might be seen as a provocation, I’m trying to show that the standards of decency are often absurd and imposed for no good reason. It is the reactions of adults, often shocked or uncomfortable, that perfectly illustrate this narrow-mindedness, while the children interact freely with the sculpture without seeing anything inappropriate in it, simply having fun.
Ultimately, KingKongBalls XXL raises the question of freedom of artistic expression. Through this work, I am asserting the right to create without being limited by social expectations or traditional aesthetic conventions. Art then becomes a space where we can express ideas without censorship and invite the public to confront their own prejudices, embarrassments and laughter.
What role do humour and irony play in your work, particularly in the context of this sculpture?
In the context of this sculpture, humour and irony play a central role in engaging the audience in an accessible and playful way. By choosing to represent a bonobo in a relaxed posture, often associated with human relaxation, there is a humorous effect that immediately grabs attention. This figure of a bonobo, traditionally seen as a mirror of humanity, reinforces the comic effect through its anthropomorphic posture.
The irony lies in the contrast between the imposing appearance of the work and the nonchalant attitude of the bonobo. It challenges viewers about the human behaviours we project onto animals, subtly highlighting themes related to nature, sexuality and society, while maintaining a light, humorous aesthetic. The fact that visitors interact spontaneously with the sculpture, in particular by touching certain polished parts, accentuates this humorous and interactive dynamic, creating a direct dialogue between the work and the public.
Humour here becomes a tool for defusing the seriousness we might expect from such a monumental work, while inviting us to reflect more deeply on human nature.
Your work often deals with the themes of nature and humanity. How do you see this relationship evolving in contemporary art?
In my work, the relationship between nature and humanity is at the heart of my artistic exploration, and I find that this relationship is constantly evolving, particularly in contemporary art. Through works such as KingKongBalls XXL, I seek to capture this tension between natural instinct and human social constructs. Using elements from nature, such as the animality represented by the bonobo or the gorilla, confronts viewers with their own biological roots while questioning modern cultural and social codes.
In contemporary art, this relationship between nature and humanity is becoming increasingly important, especially in the face of current environmental challenges. Artists play a crucial role in tackling these themes, not only to show the fragility of nature in the face of human activity, but also to remind us of the profound interdependence that exists between the two. My approach seeks to destabilise the traditional view, often using humour and irony to reveal these fundamental connections, which are sometimes obscured by social conventions.
What I find particularly fascinating is the way in which nature, in contemporary art, is often used not only as an aesthetic subject, but also as a vehicle for critical reflection on our relationship with the world. I believe that this dynamic will continue to evolve and strengthen in the years to come, in resonance with growing environmental concerns and the quest to reconnect humans with their natural origins.
What social or cultural issues are you most keen to address through your art?
This work challenges social conformity, particularly rigid ideas about ‘’proper‘’ representation in public art. By introducing humour into what might be seen as a provocation, I’m trying to show that the standards of decency are often absurd and imposed for no good reason. It is the reactions of adults, who are often shocked or uncomfortable, that perfectly illustrate this narrow-mindedness, while the children interact freely with the sculpture without seeing anything inappropriate in it, simply having fun.
Ultimately, KingKongBalls XXL raises the question of freedom of artistic expression. Through this work, I am asserting the right to create without being limited by social expectations or traditional aesthetic conventions. Art then becomes a space where we can, without censorship, express ideas and invite the public to confront their own prejudices, embarrassments or laughter.
What role do humour and irony play in your work, particularly in the context of this sculpture?
In the context of this sculpture, humour and irony play a central role in engaging the public in an accessible and playful way. By choosing to represent a bonobo in a relaxed posture, often associated with human relaxation, there is a humorous effect that immediately grabs attention. This figure of a bonobo, traditionally seen as a mirror of humanity, reinforces the comic effect through its anthropomorphic posture.
The irony lies in the contrast between the imposing appearance of the work and the nonchalant attitude of the bonobo. It challenges viewers about the human behaviours we project onto animals, subtly highlighting themes related to nature, sexuality and society, while maintaining a light, humorous aesthetic. The fact that visitors interact spontaneously with the sculpture, in particular by touching certain polished parts, accentuates this humorous and interactive dynamic, creating a direct dialogue between the work and the public.
Humour here becomes a tool for defusing the seriousness we might expect from such a monumental work, while inviting us to reflect more deeply on human nature.
Why should you go and see KingKongBalls XXL at Sculpture by the Sea, Bondi?
Just to smile and laugh, and above all to observe the reaction of the people around you as you share a moment of good humour. This monumental sculpture is at once surprising, playful and provocative, offering a humorous reflection on serious subjects such as conformity and freedom. You’ll also see how word of mouth will take hold of this work, captivating attention right up to, and well beyond, 4 November.
By visiting, you’ll be part of a collective experience in which art becomes a meeting point and a conversation point, sparking smiles and discussion.
Anything you’d like to add?
No, I’ve already said a lot, don’t you think?
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We thank Denis Defrancesco for this interview. You can see KingKongBalls XXL at Sculpture by the Sea until 4 November 2024. To find out more about Denis Defrancesco and his art, check out his website here
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