Interview: Damien Bénéteau

Introduction

In this enlightening dialogue, Louis Buysse engages with the acclaimed sculptor Damien Bénéteau, whose trajectory from photography to kinetic sculpture marks a significant evolution in contemporary art practice. Bénéteau, known for his meticulous integration of light and motion into sculptural forms, reveals the profound influences and technical rigor that underpin his artistic process. Through a series of probing questions, Buysse explores the philosophical undercurrents and material explorations that define Bénéteau's oeuvre. The artist reflects on his transition from capturing light in static images to manipulating it in dynamic spaces, offering insights into the ways his work challenges and redefines viewer perceptions of time and space. This interview not only delves into Bénéteau's artistic motivations and the complexities of his work but also addresses broader questions about the role of large-scale works in the art market and the enduring value of minimalism in contemporary sculpture. The conversation delves deeper into Bénéteau's innovative approach, which continues to push the boundaries of what kinetic art can achieve, anchored in a deep understanding of both historical influences and futuristic possibilities.

Interview

Louis Buysse: Hello, Damien. It's a pleasure to have you here for this discussion. You've made an impressive transition from photography to kinetic sculpture. What inspired this change and your particular focus on sculptures that interact with light?

Damien Bénéteau: Thank you, Louis. It's always a pleasure to share my journey with you. After 15 rewarding years in photography, I moved on to explore new dimensions, literally transitioning from two-dimensional to three-dimensional forms. My training in photography sharpened my sensitivity to light, which now plays a central role in my sculptures. I wanted to retain the essence of my artistic practice while incorporating a minimal formal approach with movement.

Louis Buysse: Your sculptures are not just objects; they invite interaction with light and space. Can you explain how light and movement play a role in your work?

Damien Bénéteau: Absolutely. Light is fundamental-it is both a medium and a subject in my work. Moving light alters the perception of volumes, making each visual experience unique. I aim to make visible the invisible forces that govern our universe, such as gravity and magnetism. Moreover, I specifically work on the dilation of time, from the extreme slowness of oscillations to the apparent stillness of their swing axes. This dynamic interaction invites viewers to ponder the concept of time.

Louis Buysse: Speaking of influences, are there any artists or movements that have shaped your approach to sculpture?

Damien Bénéteau: While many assume Alexander Calder's mobiles influence my work due to their kinetic nature, my true inspiration is more aligned with the minimalism of moving geometric forms. James Turrell's immersive artistic approach resonates with me. Richard Serra and Victor Vasarely are artists whose approaches closely match my own.

Louis Buysse: Your monumental exhibition at the Vasarely Foundation was a turning point in your career. How did this experience influence your artistic approach?

Damien Bénéteau: This exhibition, "Variations in Variations," was divided into two parts. The first involved confronting my work with geometric abstraction, in this case, Vasarely, one of the masters of geometric abstraction. The second part involved a confrontation with science (Foucault, whose pendulum is located at the Pantheon in Paris). This exhibition was a real revolution as I discovered that I was using the same materials (anodized aluminum) and formal language. It was the first time I worked in such a large space, completely immersed in the work of a master of geometric abstraction. The walls of the space were entirely covered with huge abstract works. My sculpture was placed at the center of the space. I believe I managed a delicate balance between the space's majestic, graphic nature and my minimalist work. It's hard to say today whether my work will be influenced by Vasarely's work. My formal approach is already very close, to which I add the movement of light.

Louis Buysse: Your work also involves great technical precision. How do you reconcile the technical demands with the creative aspects of your sculptures?

Damien Bénéteau: Balancing technical precision and creativity is at the heart of my practice. The creative idea leads, and the technical process helps bring it to life. There is a lot of back and forth. Sometimes technical challenges alter the creative vision, leading to new discoveries. This interplay is essential: it ensures that the final piece is impactful and also integrates physical and mechanical constraints.

Louis Buysse: Considering the art market as a whole, how do you view the concept of creating large-scale works to impact visibility and sales?

Damien Bénéteau: Creating large-scale works is certainly a statement. It allows for a more immersive experience and shows the artist's ability to work at monumental scales. Large works should enhance the concept, not just the artist's visibility.

Louis Buysse: Lastly, what advice would you give to emerging artists trying to make their mark in the contemporary art world?

Damien Bénéteau: I have a background in photography, which is technically very different from my current practice. I learned all the techniques I needed to create sculptures. I also bought all the necessary machines for designing and making them. I only use companies for the anodization (surface treatment). I also learned the anodization process. I want to be able to do everything myself. Many artists have their works made by external parties or robots. It seems to me that creative freedom is intimately linked to the artist's ability to create his own works.

Louis Buysse: Damien, thank you for sharing these insights. Your work not only illuminates spaces but also the minds of those who engage with it, offering a new perspective on the interplay between light, space, and time.

Damien Bénéteau: Thank you, Louis. It is always enriching to discuss the various facets of my work and its reception. I look forward to continuing to explore and push the boundaries of what sculpture can be.

Opinion Piece - Louis Buysse

In the field of kinetic art, Damien Bénéteau's work falls within the currents of geometric abstraction and op-art. Science is intimately linked to the creative process. His sculptures, like Foucault's pendulum, oscillate not only in space but in the dimensions of human perception, suggesting a profound understanding of movement and stillness. Bénéteau's practice, while deeply rooted in the aesthetics of minimalism, extends beyond simple form. It is a poetic interpretation of gravity, a meditation on time, and the ability to sculpt volumes and perception. This exploration invites us to contemplate not only abstract forms in motion but also to philosophically question the universe around us.

By moving away from literal interpretations of Foucault's pendulum, Bénéteau proposes a new narrative: one that transcends physical movement to embrace the metaphysical aspects of our existence. This philosophical foundation distinguishes his work, establishing a bridge between the truth of science and the subjective truth of human experience.

This ongoing evolution of form and thought pushes us to see beyond the tangible to the infinite possibilities of light. His work reminds us that in the realms of art, as in science, there are always new frontiers to explore, new truths to uncover, and new ways to see the world.

Interviewer: Louis Buysse

Interviewee: Damien Bénéteau

Interview date: 29 Jan 2025