To give elegance to each of his compositions, the artist repeatedly chose to use white and black, as he found these shades much more intense and full of personality compared to colors which, in his opinion, distracted the reader, causing them to lose the very essence of the final meaning.
In the following years, Jean François Bory continued working on the representation of the book also approaching sculpture, aiming to create complete compositions that could simultaneously exploit visual, sound, and three-dimensional art, elements that would characterize the poetry and editorial activity of the artist throughout every phase of his life and production.
Since 1966, the artist founded numerous magazines, some in collaboration with Julien Blaine, among which the most important is named Approches. In 1968, he also collaborated with Jochen Gerz, with whom he published several anthology magazines included in the series Agentzia. Another magazine that achieved similar success was published in New York, titled Once Again.
However, successes soon appeared in Italy as well, where in 1970 a French-language magazine called Humiditè was born, often featuring collaboration between the artist and other exponents of visual poetry, who could enjoy a common space to exchange opinions and find points of agreement on this fascinating but little-known subject.
In 1974, Jean François Bory joined the International Group of Visual Poetry, better known as the Group of Nine, which also included Eugenio Micini, Michele Perfetti, Sarenco, Lucia Marcucci, and many others.
Among the artist’s most famous artworks are certainly The End III from 1971, where a simple stylized book is reproduced on sand, and also All over, where the same book is depicted on an emulsion canvas exploiting three dimensions.
Also very famous are some sculptures such as Eternitè, created in 1980 and born from the assembly of several volumes, which testify to the importance the artist gives to culture.
In the 2000s, Jean François Bory’s artworks took on particular connotations, such as Autodafé, which features the printing of some letters replicated in different styles that convey a sense of harmonic movement on a plexiglass plate.
In 2006, the artist also dedicated himself to creating some sculptures depicting various models of typewriters and truly unique three-dimensional books.
Since 2008, the artworks have become quite linear and rather simple again, suggesting that the poet’s vision of art refers to a single cycle destined to repeat over time.