Born in Le Mans -France- in 1977
Lives and works in Paris
The first time I heard about Benjamin Sabatier it was when I saw images on the Internet of those awesome minimalist and powerful sculptures.
Because Yes, what it is all about with French artist Benjamin Sabatier is Sculpture; not installation or any nice display of objects in a room. I mean each piece contains in itself the vocabulary required to say it is a sculpture -an installation is an interaction of objects each of which is not necessarily a sculpture- It is all smartly developed:
- each piece has its own dynamic,
- no hazard, each assemblage of wood or iron -or whatever it is- is made in purpose,
- when turning around details catch your retina all around,
- the light circulates through the whole sculpture to give breathe to the piece,
- and the bases of the sculpture always bring the way we look at the sculpture to another level
Besides, when the sculptures are assembled all together to make an installation the ensemble is perfectly balanced. Each piece responds to each other and works perfectly well all together. Nothing is missing, nothing is over exposed.
Then of course if you pay attention to Benjamin Sabatier’s biography you discover he puts a “contemporary envelope” to his work with the concept of IBK which refers both to the world of business (IKEA) and to the history of art (International Klein’s Blue) but, I would add “Hey Benjamin, no need of that smart idea of IBK your work is as simple as brilliant!” Beatrice Chassepot
INTERVIEW by be-Art Magazine
be-Art Magazine: It sounds like you were born in the Arts with your parents both artists and “mécènes”in Le Mans –France- and you met at a very early age some famous artists like Keith Haring or Claude Viallat. With such entourage wasn’t it too hard to want to become an artist?
Benjamin Sabatier: I come from a family of 4 children and I am the only one who took this path. But yes, it is true that I was exposed to art at a very early age.
While other children dreamed of becoming super heroes, I wanted to become an artist. I believe I’ve always developed some kind of artistic activity.
Even as a child, I would spend a lot of time drawing and painting, putting all my effort and conviction into it. The diversity of artists and artistic practices that I was exposed to via my parents allowed me to catch a glimpse of the freedom associated with the artistic career. With this cultural legacy in hand, I had to find my own,personal path.
As a child, I was fascinated by the way Keith Haring drew “live”, in front of the public, without a preparatory sketch. In my works you can see the energy that emanates from my actions. It’s not a coincidence that the notion of “Work” is central to my oeuvre.
In my pieces, everything is revealed. I want to give visibility to all the constituent elements of the artwork –actions and materials-, so that the spectator can see them as well. One could consider my works to be “action sculptures” in a similar way that Pollock’s were considered “action paintings”.
The creative process is composed of a series of events, of surprises that influence the project. That’s where the work of the artists takes place, in the working process, somewhere between the project and the object. During the production stage, the distance separating the desired goal and the final result becomes the core of the artist’s work.
Although I want my intentions to be visible in the artwork, I rely foremost on intuition; its final form always relies on a hunch.