Biography II

The Art of Francois Miglio and the emergence of the Fractal thought

Fractal Syncretism: The Art of Complexity

Since 1976, at the age of 18, Francois Miglio has developed his own techniques around superposed, juxtaposed, and knife-edged oil pastels on cardboard apply on wood.

His contemplative nature is expressed through paintings of light-infused Mediterranean landscapes an seascapes, which through the use of repetitive signs, represent an expression of the fundamental and repetitive fractal structures that comprise all of the nature world.

In 1990 a major event occurred in his life as an artist: a vision , which was interpreted through the painting «Cosmogonie», gave a new dimension to his work, and through this, he explore the fundamental basis of Fractal Syncretism. He wrote his first manifesto: «Réveur d’Eternité: Syncrétisme Fractal»; «Dreamer of Eternity: Fractal Syncretism» in 1994.

Fractal Syncretism is a proposition that the arts collectively share underlying commonalities with science and the sacred. Francois Miglio propose the concept of Fractal Syncretism in which his visual art explore the infinite complexity and unity of nature through fractal representation.
At this particular moment of our history, when Humanity has to confront, not just a crisis, but major bifurcation, it is important to understand what is complexity is.

My idea about Fractal Syncretism emerged through intensive appreciative inquiry over a period of years.

My methodology is grounded in contemplation, reflexion, intuition, dream-work, art practice, verse and exposition. Without an academic background in systems theory or in fractal geometry, I recognized intuitively, from my practice of contemplation and observation, the fractal patterns describing all of nature and the underlying of the fractal universe.

Syncretism, from the Greek «synkretismos», meaning a «Union of communities», is the attempt to reconcile disparate, even opposing beliefs , and to illustrate common practices of various school of thought. Its objective is to promote dialogue among several discrete traditions, and thus assert an underlying unity. He is not encumbered by convention, tradition or fashion i  the world of Art, and like Benoit Mandelbrot in the scientific world before him, he proposes a theory and practice of art that is a reflexion of the creative process itself.