Benjamin Hochart – Cannibale

Design & Code Atelier trois

Berzingue, 2015
Spray paint, charcoal and ‘pierre noire’ on paper mounted on macula tests print
66 x 50 cm

Hulk, 2015
Cut-out comics mounted on macula tests print
50 x 66 cm

Elle #6, Elle #8, 2014
Oil paint stick, pastel and gesso on magazine page mounted on paper
39,5 × 32 cm
Private collections, France

Gros nez 1, 2015
Spray paint on cut-out comics and paper
47 x 34 cm

Gros nez 2, 2015
Spray paint on paper and cardboard
48 x 36 cm

Rocailles 1, Rocailles 2, Rocailles 3, 2013
Enamel Ceramics
10 x 10 x 10 cm (x2), 10 x 20 x 10 cm
Private collections, France

Passages (mon doigt), 2012
Ceramics
30 x 10 x 10 cm, 15 x 10 x 10 cm

Dodécaphonies 4, Dodécaphonies 8, 2013
Gouache, colored pencil, ink, charcoal, pastel, graphite, marker, glitter glue, highlighter, correction pen, ballpoint pen on paper mounted on wood, framed
102 × 144 cm

Champignons, 2015
Charcoal, ‘pierre noire’ and pencil on paper
44, 5 x 32, 5

Grosse bouffe, 2015
Oil paint stick, pastel and black paper on macula tests prints
41,5 x 41,5 cm
Private collection, France

This exhibition of recent drawings and ceramics by Benjamin Hochart, Cannibale, is full of monsters. A figure and notion at the heart of the artist’s current work, the monster and the monstrous can be found everywhere if one pays close attention, looks beyond its abstract facture and its apparent harmony.
His large scale paintings saturated with colours, lines and materials are post-nuclear landscapes (Dodecaphonies). Deflagrations and chromatic explosions crash into each other, only to bounce back elsewhere and in other forms and shapes, in a permanent recycling and transformation. Atomic mushrooms (Berzingue), bristling concretions (Rocailles), faceless women (Elle): in Benjamin Hochart’s work, metamorphosis is at work everywhere. The patterns follow one another, rebounding from one piece to the next, the works almost devouring each other, like cannibals.

The Drawer, février 2015