Benjamin Bichard keeps track of a multitude of forgotten and common items and makes them seem “organic” and new. Crude and useful objects, objects for which, due to the fact we use them daily, we lost sight for, are made anew. Further inspection of his sculptures, like crystal chandelier and dripping fountain erected at the center of a gallery, ...
Benjamin Bichard keeps track of a multitude of forgotten and common items and makes them seem “organic” and new. Crude and useful objects, objects for which, due to the fact we use them daily, we lost sight for, are made anew. Further inspection of his sculptures, like crystal chandelier and dripping fountain erected at the center of a gallery, reveals that, for us, their past forms had no obvious intrinsic beauty, a beauty that comes fully revealed by simple means of camouflage. The fountain sponges are synthetic and the chandelier is made out of plastic knives. The visual illusion is very effective and compels the observers to rethink their views of the objects that inhabit our daily lives. They remind us of negative strength that mass production and serialism exude upon our appreciation for the simplistic beauty of common objects, the fragility of life and invaluable banality of days that accumulate. Bichard rightfully recognizes that those objects witness the most intimate acts of our lives, and breathes in them new values that force us to, once more, appreciate their refinement.
Pencil peelings covering the bench, the smell of ligneous flakes, the sound of a pencil sharpener and abstract flowers we unintentionally made by discarding the wooden shavings, all remind us of our carefree childhoods and delicacy we have so easily forsaken. Accessing Bichard’s world feels as if we are recovering lost time and are filling in the void made by the absence of adolescent innocence, it dissipates with time and makes us feel like coming home. Just like chrysalis the butterfly leaves behind disappear, we tend to forget the very existence of the tracks that preceded our venture into adulthood that brought with it a complete loss of appreciation for innate beauty that simple, palpable objects radiate.
With an obvious tendency for monomania, the artist accumulates all things disposable and stands at the pulpit giving praise to the beauty of insignificant and ephemeral. The show will be available for all to witness starting on March 17th and ending on April 23rd, 2016, at Galerie Géraldine Banier, Paris.
Benjamin Bichard was born in Nice, France, in 1982. He’s graduated from the famous Villa Arson in 2010.
After his studies he lived few years in Paris and was selected by the 57th Montrouge Salon for the young creation where he was discovered by Geraldine Banier gallery. In 2014 he came back to his native city, He still lives and works at Nice today.