Franz Weissmann born in Austria in 1911, comes with his parents to Brazil at the age of 10 and here he becomes a Brazilian, carioca, sculptor and teacher. After 1950 he started to elaborate abstract and geometric sculptures. Replaces materials that can be sculpted (marble, soapstone, wood) or molded (plaster, ceramic, bronze) with the use of those that allow building, such as wires, rebars, bars, tubes, angles and metal plates such as aluminum, copper, brass or steel, of industrial use. Reflecting the country's change from agricultural to industrial industry, the sculptor turned from craftsman to designer, elaborating models and studies that were taken to workshops and foundries to be expanded. An artist who saw the macro in the micro, who, through scale models, reached large sculptures, one of the hallmarks of his world. For him, sculptures took on multiple meanings when placed in the public space. Franz Weissemann, who was interested in seeing his creations show non sidewalks and public squares precisely to provide more access to them.
Franz Weissmann was a uneqly talented artist. Considered the introducer of geometry to Brazilian art, he became the máster of an entire generation in the 1940s as 50s, influencing the works and thought of artists like Mary Vieira and Amilcar de Castro. The artist twists planes into space, experimenting with the animated intervals. The sculpture form is ever-changing along with the viewer’s movement. Each moment carries the potential sum of all other possible positions to perceive it. Participated at the IX São Paulo Biennial in 1967, presenting a piece in which the colour was a defining element of the sculptural space. From then on, this became a prominent feature of his work. In Rio de Janeiro, he was soon recognized as the best sculptor of his generation, and has influenced other artists, leading him to integrate both Grupo Frente and Neo-concrete movement.