Théo Drucker was born in 1998 from a Parisian wedding between a Franco Colombian mother and a Franco Israeli father. He grows up in the Bordeaux area. This union of cultures allows him to evolve in a rich atmosphere stimulated by trips and encounters that fed his interest in creation. It is this atypical alliance between a High Fashion model with a sharp aesthetic sense and a very handy building contractor, that filled Théo with this urge to create.


At seven, Théo was diagnosed with Burkitt’s lymphoma, a malignant tumor, which thanks to chemotherapy and unfailing family support, was brought to remission. This hospitalization time allowed him to start experimenting drawing, painting and sculpture intensely. Now cured, he gets into carpentry, mechanics and electricity alongside his scientific studies. Fashion naturally becomes important in his research, he wants to embody his vision of Beauty, this involves the assembly of designer clothes, in outfits that he likes to describe as timeless.


In 2016, the young high school graduate settles in New York City, he studies downtown at the Manhattan Language School. This extended stay will allow him to evolve in a cosmopolitan city and steep in its major influence in contemporary art. The general esthetics of this city will remain for Théo a continuous source of inspiration.


Back in France, he begins to express himself through scenography, especially thanks to the creation of Amplitudes, an event association composed of his close friends. His challenge? Connect the arts by creating spaces forming a link between music, dance and display. It is through places and events in Bordeaux such as the iBoat, Darwin Eco-system or even the Fête de la Musique that Théo gets his firsts confrontations with the public.


But his desire to associate his vison of beauty to function didn’t come from space design. As a matter of fact, it’s product design that has always been at the center of his attention, taking shape with the custom-making of fixies and motorcycles. Then it is with contemporary furniture that he continues to fashion his minimalistic geometric esthetics.


In 2019, the young artist establishes in a workshop in the heart of Bordeaux, there, he begins to accumulate tools and materials. An element, which without knowing it, proved essential on March 17, 2020, at the dawn of the lockdown. In this particular atmosphere, Théo manages to abandon the functional aspect of his work to concentrate on pure artistic creation. THE DISRUPTIVE ELEMENT series emerges.


A project built around ANTHROPOCENE: The mankind era. Indeed, Théo’s work articulates around humanity and its influence on its home planet.

His sculptural compositions are linked by one material, whether it is shaped as a tube, a spindle or a sheet, whether it has been cut, twisted or bent, it’s brass that composes this series. Alloy of copper and zinc (today recognized for its antibacterial properties) its oxidation evolves from champagne to bronze, natural or accelerated it forms abstract patterns which participate in the impression of movement.

Typical feature of the full metal jacket bullet, BRASS is here the representative of human actions, in other words: the disruptive element.


Théo emerges stronger of long months of lockdown devotes to creation, 2021 will be the year of research for the young artist. After cruising down the coasts of Costa Rica, he carries on with his journey following his origins to Colombia, then it is in Israel that he settles, before wandering to Belgium and finally Corsica. Stimulated by prolific encounters surrounded by a wide diversity of spectacular settings, he regains his workshop to tackle a new project: USELESSNESS.



“It always begins from an observation, realization or a discovery, then I start developing the plastic representation of my idea. My approach being tightly related to the material I use, I don’t function with sketches anymore, but with a cognitive modelization, that I do my best to render in my workshop as closely as possible. This without letting the transition from mind to reality corrupt my vision.”






2020 in Bordeaux


EXPO4ART - Halle des Blancs Manteaux


2020 in Paris IV


EXPO4ART - Halle des Blancs Manteaux


2021 in Paris IV




2021 in Bordeaux




2022 in Paris III

Théo Druker_edited.jpg


Oscar Wilde wrote in the preface of The Picture of Dorian Gray: “[…] All art is quite useless’’, half a century before him Théophile Gautier claimed in the preface of Mademoiselle de Maupin: “Only that which serves no end is beautiful, everything useful is ugly. […]” Stirred by the distinct views of the respective masters of Aestheticism and Parnassianism, Théo, who has always been concerned about the usefulness of art, decides to take the matter backwards: he will sculpt from utilitarian objects.


As an echo to his first series, he decides to involve an element he knows well: fire, feared for its destructive potential, in art it can embody creative forces. And it is precisely this duality that acts as courier from useful to useless, from practical to superfluous, from design to art. 

Fire aspires to create art by destroying function.


His primary approach is driven by Yakisugi (ancestral method of wood preservation by a controlled charring), not only it confers the treated wood with an eternal dimension, but it gives it an ebonized finish that reveals the unique temper of the manufactured object.


Between the deepening of mediums developed for his previous series and new experimentations, the processes sprang to interact with a powerless spectator facing an object deprived of its essence, but imputed with a mission: reach a degree of higher importance than usefulness.