I could get to make something tangible.

It's not# digital art, it's something really tangible.

And at the same time, I can tell my story.

Realistic,# it doesn't matter.

All I want is to tell stories in my own way.

I see like this board, like board# of MDF board, I use, that's my canvas in a way.

I picture this and then in my head I# picture the whole city already.

So the inspiration comes from that.

My name# is Francois.

I'm a miniature artist, specialize in architecture and automotive arts.# They are big miniatures, let's put it that way.

You can call it sculpture.

There's so many aspects# of it, so I don't even know how to name it myself.

Usually I have some random vision that comes# to me.

And then the goal is how do I get from now to my vision?

And of course with some# wiggle room for creativity here and there.

Then the engineering parts comes into it# because what I'm doing is very precise, very detailed.

Even though my stuff look weathered# and gritty and all that, it's still very precise and detailed and I don't leave room for any# mistake.

It has to be perfect, and whatever perfect means in my own mind.

And my perfect is# the inner perfection.

Basically what I like to do about my work is replicating an ever-changing# world, like the world keeps evolving all the time.

So does my art.

So I like to add like a little# spot of rust here and there just to add a little more character and a little more story for the# audience so people can do their own stories, after that, whenever they see all those details,# they can picture whatever they want.

That's the magic of my work is that it doesn't stop with# just what I'm doing.

I like people to be able to picture something.

The messier, the better, adds# more character to it.

Lots of life to the work, it doesn't just exist now, it's living.

The# whole Miami Vice aesthetic, which includes not just the or it has the cars, the music,# everything.

I like to call the aesthetic.

So if I want to narrow down even more, that will# be, that will be the direction, my vision.

I start making models when I was like 11 years# old 'cause I've always been a car guy and that was the best way for me to get into the automotive# world in my own way.

The more accessible way to do it.

And now the model cars is not even# the focus anymore.

This is just character in the background.

These are my characters# really when it comes to my miniature scenes.

I don't like to use figures 'cause I feel# like you cannot replicate life in a person, but you can replicate life in an abandoned place.# And this is usually the way I do those things and my cars usually my little cars, they are, they're# helping, they're helping telling the story.

I kind of slowly moved into the architecture# side 'cause I've always been interested in it.

I never really got into it, but that's my way# of contributing to that world, of architecture.

I'm stitching my mental pictures together to# create a unique piece.

Those pieces are like fictional, they not exist anymore.

They're# totally fictional.

And to me that is the best part when I make fictional building, but realistic,# I like to say that I get to create twice.

So the first creative aspect is in the crafting.

And the# second one is in the storytelling, which now I get to create my own little worlds.

I always start# with a rough sketch basically.

So it helps me getting ideas and blueprints out of my head.# You know, it's basically my notes right here, just rough proportion.

You can see here,# classic Miami style over here.

That's gonna be a replica.

And then after that I jump into# the computer, Illustrator and I start drawing everything very more precise.

Like very precise.# And then after that I send everything to my laser cutter that where I can have clean, precise cuts.# And then it's all about assembling the whole, the whole thing that I engineer for the past# few days because it usually takes some days to really get everything right.

Once I have my# structure, then after it's all about dressing up, giving some life, gain some character by using# different type of materials.

It can be anything, it can be like a piece of sandpaper, it could# be like a real stucco, it could be anything.

Anything can be anything.

It's all about problem# solving with a touch of artistic touch.

There's no templates.

I usually figure out as I go.

I like# to call free style, like from point A to point B, like all the way.

I just put all the pieces# together, the puzzle I built in my head, now it's finally, and that's actually a very# rewarding part right now.

When I know that everything fits, like exactly how I want it# now.

The engineering part, it's halfway down.

That's the fun part.

Now I can really start# dressing up and tell the story to match the rough sketch that I have over here.

I'm always# like a 20 step ahead.

Whenever I build something, I'm here, in my head, I'm already a 98%.# The idea was to trick the eye so people can be tricked.

They don't know, at first glance,# they didn't know if it was a mall or if it was the weird world.

It start with a sheet of wood and# then I go all the way to this.

It's pretty fun.