Thomas Benech

¿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.

9 works in the series

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.

3 works in the series