Francisco carries with him an artistic baggage coming from other generations. Since he was a little boy, he was naturally introduced and encouraged to study different artistic expressions. From the Baroque, characteristic of his region of origin, to the contemporary, expression produced by his parents. As a teenager, he had his first contacts with fine carpentry by taking courses in the trade. He spent his early adulthood traveling and studying the same craft, making extensive studies of the material and applied techniques. Back in Brazil, he worked in his father’s studio producing his works and structuring his own studio. During the period he was incited to critical creativity and stimulated to produce his work, which manifests itself from the mixture of his origin and lived experiences.
In Francisco Nuk’s work, the usefulness and usefulness of the furniture are dismantled the moment the artist breaks their rigidity, making the absurd a pursued concept. Everything in his work opens up to distorted clues. The distorted cupboards no longer balance the crystals, the drawers float light without the weight of filed secrets, the carefully carved circular chest of drawers confuses those kept.
In repetition, in the game of imagination and in the constancy of the craft, Francisco elaborates his sculptures with the intimacy of a poet. The woods, in love, surrender, dance and get rid of the burden of serving. Now they are art. Just it.