Fvckrender

Fvckrender, born Frédéric Duquette, is a self-taught digital artist based in Montreal. His practice began in 2016 after a bike accident left him without sensation on the left side of his body. During recovery, he started working with 3D software as a way to keep his brain active. The daily act of rendering soon became a form of training, giving him a structure through which he could process physical disruption and personal memory.

At the time, Duquette was working in a restaurant in Montreal. He taught himself the tools before and after shifts, often bringing his computer to the bar and using spare hours to make images. This self-directed routine shaped the discipline that still defines Fvckrender’s work, which developed through repetition, patience, instinct, and persistence. The constructions of his worlds show the close relationship between physical limitation and visual invention.

Fvckrender’s works often take the form of highly rendered digital landscapes and impossible architectures, populated by arid terrains, reflective flowers, suspended chains, serpents, crystalline structures, and bodies of liquid light. These recurring elements seem to function as a secret vocabulary: snakes can suggest manipulation, flowers carry emotion, chains point toward community, and crystals can hold the idea of pressure. Across different works, their meanings accumulate gradually, forming an alternate visual world that feels futuristic while remaining closely tied to personal feelings and lived experience.

Across all of his work, he treats art as a record of what he has lived and what he is still living through.

One of the main anchors of his process is light. Fvckrender studies how it behaves in the physical world, then alters those conditions inside the digital image, like reflections becoming too sharp or shadows deliberately (re)placed. That way, his materials appear almost tangible while remaining impossible to locate in real space.

Fvckrender has often described his work as a diary. His images register emotion through atmosphere, surface, and scale, rather than direct narration. The practice becomes a way to process memory, anxiety, trauma, and personal growth, translating inner states into environments that viewers can enter through their own associations.

His visual language has also moved into physical form. EXISTENCE//, his first non-digital sculpture, takes the shape of a two-metre-high chain that appears to resist gravity. The work extends one of his recurring symbols into space, carrying the same interest in suspension, weight, light, and emotional charge.