After pursuing science-oriented studies at secondary school, Tom Frantzen hesitated between architecture and sculpture. He eventually opted for a course in monumental sculpture at the Ecole Nationale d'Architecture et des Arts Visuels de La Cambre in Brussels, with Rik Poot as his director of studies. There, he mainly learnt how to work bronze. After training with an Italian caster, he built his own foundry, where he worked until 1990 melting metals. The artist still casts and sculpts materials in his workshop today, using a great diversity of materials. Due to his wild imagination, originality and humour his style could be described as a new form of Flemish fantastic art, but hi main objective is the search for a "spatial dynamic" which often combines minimalist and organic shapes.With public art, he places emphasis in pre-existing sites. His works create a dynamic within the spaces they occupy.
One of his objectives as an artist is to call out to passers-by and to make human reality confront the time that goes by. Interacting is very important for him. In the last ten years, he has been working on the "Sentiers du Chatmikaze" ("paths of the Cat-mikaze"), a sculptural fantasy world situated in the wild. Inspired by everything that shapes mankind and by personal emotions, Tom Frantzen gives a contemporary account of our western civilisation. He does so in a style that is marked with derision. His naive poetry is a daring initiative at a time where conceptual art rules supreme in the minds. Tom Frantzen tells us about what urges the world into motion, about everything that is alive and, more specifically, human.
"I like to present my view on the world; a world that I often perceive as a giant circus where everything is a foregone conclusion. I like to show the real side of life, with its chaos and its contradictory feelings, so typical of humans. I want to depict the dream of a world where art, and sculpture as far as I am concerned, conveys a perceptible, universal message which can link together all humans through time, space and civilisations. I sometimes feel like a medieval pop artist... medieval because I master the age-old art of shaping materials, an art that implies a considerable amount of work, unlike conceptual art where the artist has everything done for him by other people, often leading to an impersonal, lifeless result... pop because of the way I assemble the elements of my works and include usual and mechanical objects." Tom Frantzen calls out to any sensitive, positive onlooker to interact with him.