His principally conceptual aproach follows a multilayered visual, tonal and theoretical intuition. The young New York artist and musician combines a way of thinking, that is nurtured by the protagonists of contemporary experimental theory, with a tonally breached practice of seeing and acting-out, that can get very physical. Thinking machine, sound machine, body machine, image machine,… Kraftwerk. Frantz incorporates daily actions into his works as their signature (receipts for his own personal consumption, laundry slips that contain records of stains in personal clothing). This, not least, can be seen as an expression of the artistic ‘impossibility to say I/Me’, when at the same time this is exactly the imperative.