Thomas Benech

His work is distinguished by a constant exploration of volume as a living organism, where the straight line folds, twists, and becomes charged with emotional meaning. In his sculptures, balance and openness are not just formal solutions, but conceptual drivers that lead creative thought towards a poetic experience of space. Trained in Fine Arts at the École Boulle in Paris and the École Supérieure des Beaux-Arts d’Angers, Benech has developed his own language that draws from both European sculptural tradition and a profoundly physical contemporary sensibility. His technical mastery allows him to work with various materials and supports, continuously expanding the expressive possibilities of volume, although his preferred material, and the one for which he stands out, is undoubtedly ceramics. His work has been presented in France, Spain, Portugal, Mexico, and Australia. After living in cities like New York, Sydney, and Melbourne, he has resided and worked in Madrid for over 16 years. Influenced by artists such as Barbara Hepworth, Tony Cragg, Martín Chirino, Eva Hild, Eduardo Chillida, and Antony Gormley, his practice is consolidated as a coherent and generous quest, open to dialogue and artistic exchange.

Financial information

Signature value

12.09

Accum. revaluation

3.44 %

Price evolution

Curve

¿How to sculpt movement? The notion of movement and its relationship with time presents a contradiction with the fixed and lasting that traditionally defines sculpture. It is precisely in this tension that Thomas Benech's Curve series is situated. Conceived as a dialogue between apparently opposing dualities —the ephemeral and the durable, the void and the solid, the visible and the invisible, the soft and the hard— the series begins with an initially intangible line, drawn in the air, which gradually solidifies into matter. Fluid curves emerge from a massive, square section, creating empty spaces that did not exist before and making the invisible visible, as if the form defied gravity and condensed a suspended gesture. In his creative process, Benech uses the body as a tool for sculptural thought, where dance and calligraphy operate as natural extensions of his practice.

Windows

This sculptural series is born from the desire to capture the ephemerality of movement and the corporal gesture characteristic of contemporary dance. Based on direct experience with the body and freedom of movement, each piece is constructed as a condensed choreography, where rising or falling, compressing or releasing space, become formal decisions. The sculpture does not represent dance, but rather is the physical result of having executed it, translating a temporal and changing practice into a solid and permanent form. The use of Solid Surface establishes a temporal limit that determines the process: each piece is developed for a maximum of five minutes, the time the material allows before cooling and crystallization. During this interval, the body acts, repeats gestures, and structures a sequence that is fixed in the material.