Benoît Felix's exhibitions are always a feast for thought and vision. In his practice, the drawing becomes an object - playfully transformed into cut-out drawings that claim their own space.

After completing his art studies in Brussels, Benoît Felix (°1969) studied Lacanian psychoanalysis. This influences his work to this day. He continuously explores the relationship between language, body and image, engaging with art history and today's urgent questions.

Benoît Felix : “ I don't know. That's my starting point. Or rather, my starting line. It's as if I had to draw a line through knowing what I was going to do in order to begin. What I saw in that line was a drawing—not the drawing of something—rather the mark of a negation? That of a separation from what would otherwise have held me back from doing? This line drawn in front of me (most often at my feet) was also an edge: the edge of something that could then happen.

It is perhaps also as if I had to trace for myself the horizon towards which I was moving. Let me illustrate with this event: I am splitting wood for the winter. Suddenly something is there, there in front of me: "See that it holds." One of these pieces of wood, by the particular form it has taken - a form of resistance - stops me in my enterprise - that of splitting, breaking, cutting, reducing. It is a presence that I recognize there - and at the same time the destructive dimension of my enterprise appears to me: I suddenly say to myself that it would be good if others besides me could also see the destructive dimension of their enterprise and therefore stop.

What I suddenly see is that "It holds." It's actually the same thing I say to myself in the studio when suddenly what I was working on is imposed on me as - let's say the work - cutting, reducing, making holes, stretching it differently to the wall or to the space to see if it wouldn't look better... No, no! The question is suddenly no longer whether it's better: it's there.

What's there is neither better nor worse than anything else; it's there. Voir que ça tient, "Templum," but also Concetto spaziale, you'll see, it's a series of encounters. While I thought I was busy with something else entirely, it's also suddenly, faced with the obvious fact that I was making art, that I suddenly find myself there in front of it? And what do I see? I see that I didn't know.”