Benjamin Renoux makes art in order to form an understanding of his own identity and the identities of those around him. The theoretical basis for his work lies in the real and virtual environments that he inhabits – and particularly in the confusion created by the increasingly blurred lines between the two. Renoux employs new media and technological processes such as 3D scanning, CNC machining and 3D printing in his practice, and by combining these with traditional processes such as casting, carving and figure modelling in clay or plaster, he creates a dialogue between the real and virtual, the old and the new. With reality and virtuality constantly moving closer to one another, Renoux explores the implications of images, particularly those pertaining to individual identity, for a digital-focused world. His works deliberately bring the digital into the physical in order to look at the psychological ramifications thereof. His human figures are manipulated, obscured and obstructed by their digital counterparts – a comment, perhaps, on the ways in which the digital world has invaded the very essence of our humanity.
BENJAMIN RENOUX (1986, Abidjan, Ivory Coast) lives and works in Berlin, Germany. He graduated in 2014 with an MA in Fine Art from Central Saint Martins, London. Solo exhibitions include: Dance With Nothing and Repeat, Baert Gallery, LA (2018); Caryatids, Baert Gallery, LA (2017) and; Mues, Galerie Antoine Laurentin, Paris (2015). Group exhibitions include: Digipoésie, Under Construction Gallery, Paris (2018); Periscope, N Contemporary, Milan (2017); 14 Seconds, Curated by Marie de Paris, Centre 116, Montreuil (2017) and; Cabinet Da End 07, Galerie Da End, Paris (2017). Publications include: 100 Sculptors of Tomorrow by Kurt Beers, Thames & Hudson (2019).