At the 2026 Monaco Grand Prix, Antoine Dufilho\u2019s \u201cFormula One\u201d sculpture took pride of place on the bow of a superyacht. It is a full-scale replica of a single-seater race car: nearly six meters long, made of 166 metal panels, with an all-aluminum body painted red. But behind the obvious simplicity of its form lies a long process of creation. Indeed, from the first sketch to the final polish, the manufacturing process follows a demanding journey. <\/p>\n\n
The first thing that strikes you is the scale. The sculpture is 580 cm long, 215 cm wide, and 123 cm tall<\/strong>. It thus matches the actual dimensions of a Formula 1 car. It is neither a model nor a scaled-down version. On the contrary, it is a life-size single-seater, positioned on the ground as if on a starting grid. <\/p>\n\n Its body consists of 166<\/strong> overlapping slats<\/strong>. Aluminum is the predominant material, with a few stainless steel plates. This arrangement of parallel slats, separated by empty space, creates the kinetic effect characteristic of the artist\u2019s work. In fact, as soon as the viewer moves around the artwork, they see the car come together and then dissolve, as if in motion. <\/p>\n\n The choice of aluminum is no accident. First, this metal is lighter than steel. It therefore allows the sculpture to achieve such a large span while maintaining an apparent lightness. The few stainless steel plates, meanwhile, provide localized rigidity and reflections. Finally, the red lacquer finish anchors the sculpture in the world of racing. <\/p>\n\n Each of Antoine Dufilho\u2019s monumental sculptures follows the same process, from a blank sheet of paper to the finished work. For *Formula One*, this process unfolded in eight major stages. <\/p>\n\n The crucial stage in Antoine Dufilho\u2019s work is the assembly. One might think the slats are simply stacked or welded together. However, the monumental sculptures are made up of pieces that fit together by interlocking. This interlocking principle keeps each blade in its exact place. It thus preserves the precision of the digital design while minimizing visible interventions. Welding and bolting are used only for reinforcement, where the structure requires it. <\/p>\n\n This meticulous attention to assembly is what creates the final illusion. Viewed from the front, the Formula One appears to be a solid single-seater. Viewed from the side, it opens up, allowing the eye to pass through. In this way, the solid and the void become one and the same material. To explore this further, the artist detailsthe anatomy of one of his sculptures<\/a> as well as his entire body of monumental sculptures<\/a>. <\/p>\n\n All of the artist\u2019s sculptures are created in the same place. This studio, built from shipping containers, stands in the heart of the Lille countryside. It was there that \u201cFormula One\u201d took shape before making its way to the Mediterranean. For the 2026 Monaco Grand Prix, it was then installed on the bow of the superyacht Stella Maris<\/strong>. <\/p>\n\n Creating a 1:1 scale replica of a single-seater race car is no small feat. Most of Antoine Dufilho\u2019s sculptures intended for collectors are about 80 centimeters long\u2014an object you can place on a piece of furniture and take in at a glance. The Formula One, however, is over five and a half meters long. This change in scale transforms every aspect of the project. <\/p>\n\n The larger the piece, the more even the slightest imperfection stands out. The Formula One measures nearly six meters and consists of 166 slats. The alignment must therefore remain perfect from one end to the other; otherwise, the kinetic effect is lost. That\u2019s why 3D modeling and laser cutting are so crucial. Thanks to these techniques, each blade maintains the precision intended from the outset, even at this scale. At actual size, the margin of error is measured in millimeters over several meters. <\/p>\n\n Scale also changes one\u2019s perspective. Standing before a sculpture of this size, the viewer is no longer simply contemplating an object. Instead, they are faced with a car that towers over them, and must walk around it. It is precisely this act of walking around the sculpture that creates the illusion of movement, which lies at the heart of the artist\u2019s entire approach. <\/p>\n\n “Formula One 2026″ continues a body of work that Antoine Dufilho has been developing since 2012. Originally an architect and later a sculptor, he has perfected a technique he calls ” Streamline<\/strong>.” In practical terms, it involves an interplay of lines and negative space. This process gives his works an almost immaterial lightness, despite the mass of the metal. Depending on the model, a sculpture consists of between sixty and three hundred components, machined to a precision of one-tenth of a millimeter. <\/p>\n\n The principle remains the same, from a collector\u2019s piece weighing about thirty kilos to a monumental work weighing several metric tons. In every case, the artist breaks down the form into slats to reveal the hidden movement of a car\u2019s body. With its 166 slats and single-seater dimensions, however, the Formula One stands at the top of this scale, among the most ambitious pieces in his catalog. <\/p>\n\n The choice of material stems directly from the scale. Aluminum dominates Formula One, and that\u2019s no coincidence. Indeed, it is lighter than steel. This makes it possible to build a piece nearly six meters long without reaching an unmanageable weight. Above all, it retains the delicacy that is the artist\u2019s signature. A few stainless steel plates are then added where needed to complete the piece. <\/p>\n\n This interplay between aluminum and stainless steel runs through much of Dufilho\u2019s work. Depending on the piece, he combines steel, aluminum, or polished stainless steel. For \u201cFormula One,\u201d however, red-lacquered aluminum takes center stage. This color defines the work\u2019s visual identity and ties it to the world of racing. <\/p>\n\n Want to discover more works and stay up to date on upcoming exhibitions? Explore Antoine Dufilho\u2019s monumental sculptures<\/a> and find out all the latest news<\/a>. To purchase a piece or discuss a project, contact the studio<\/a>. <\/p>\n","protected":false},"excerpt":{"rendered":" At the 2026 Monaco Grand Prix, Antoine Dufilho\u2019s \u201cFormula One\u201d sculpture took pride of place on the bow of a superyacht. It is a full-scale replica of a single-seater race car: nearly six meters long, made of 166 metal panels, with an all-aluminum body painted red. But behind the obvious simplicity of its form lies […]<\/p>\n","protected":false},"author":6,"featured_media":4824,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[25],"tags":[],"class_list":["post-4845","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"yoast_head":"\nFrom Concept to Metal: The Manufacturing Process<\/strong><\/h2>\n\n
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Recessed Installation: The Heart of the Technology<\/strong><\/h2>\n\n
From the workshop to the bow of the Stella Maris<\/strong><\/h2>\n\n
The Challenge of Full Scale<\/strong><\/h2>\n\n
From Collectible Art to Monumental Sculpture<\/strong><\/h2>\n\n
Why Aluminum?<\/strong><\/h2>\n\n