We were lucky to catch up with Benoit Izard recently and have shared our conversation below.

Benoit, thanks for taking the time to share your stories with us today Can you talk to us about a project that’s meant a lot to you?

Meaningful projects are those that came out of an evidence : just do it. When I performed in Africa, I didn’t think of the implications, the pros and cons, the difficulties or its place in the art world ; I wanted to do it and I made it happen. It was in resonance with me, and it was meaningful for the performers and spectators, who were part of something “big” in their life, and eventually it became meaningful in the political history of the country when it was used (without me knowing it) to support the revolution. The LOVE art installations I did at 1 Hotel South Beach were also one of those : it was a spontaneous idea, out of the box ; I had to work to make it happen but I had no question if I should or not do it ; as a result people were very excited, it created lot of joy, and one penthouse that was designed was sold the day after. I think when it is aligned with you, it becomes meaningful, for you, for the audience, and hopefully for your carrier. I am currently working on minimalists drawings made out of body memory, people love them as they transmit vibration of ideas otherwise very complex (spiritual, emotions) ; let’s see how meaningful it goes.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I’m an architect, after my degree in France, i pursued academic studies in dance and choreography in Amsterdam and a research in Fine Art. I worked as an architect, mainly designing historical apartments in Paris with an attention to meticulous renovation and working out the perception of the inhabitant (thinking light design, the precise quality of the paint, the “breathing” of the space, the scale, etc.) so the space feels bigger, free, invites the body to new stories. I worked as a contemporary dancer, doing world tour in the main festivals. And slowly all that came together in visual arts. I create performances, large scale installations, photography, collages, textile works, drawings and sculptures. Site specifics projects are clearly to input a new energy in the space, to enrich by bringing new dynamics. Other pieces can take many forms, I work with many mediums, but again I always think a creation in the perception of the other : not how he should perceive it, there is no message, but that the piece is opening the door to see him/herself through it. It is decorative, it is beautiful but it is creating the unknown, not just representing pretty stuffs.
I work on command for site specific works ; I have pieces made in the studio, that people can buy ; I love to teach or work as a consultant, I have been working a lot in real estate (as an artist, as an architect, and as in investor). You’ll see me in art venues, luxury places like Zaha Hadid building in Miami, and private collectors.

Can you tell us about a time you’ve had to pivot?

This is not really “I had to pivot” ; this is more I decided to. As I said earlier, I studied architecture, 5 years, and I started to see a lot of dance shows, and was like “what do I really want to do?”, I had this impulse to be a dancer, so I auditioned, there was only two academies in Europe taking older students, even though I was technically bad, they took me in Amsterdam, and I studied there for 4 years (I still passed my architecture degree meanwhile), after what I met the choreographer Jerome Bel, and worked professionally as a dancer with him, others and my own work, and as an architect for practices and my own clients. The world likes that you to excel in one domain, I think the knowledge you build by engaging many practices is unique bringing much value.

Can you share a story from your journey that illustrates your resilience?

Now is. It’s difficult, covid exploded the system, there is much less artists, only the big ones are invited. Galleries, curators, take no risk (despite what they say), it’s all politically correct, they look more at you followers than at your book. age also : there is less focus when you’re 50 than when you come out of the school, and you don’t have the same candid energy either. This is a time where I am mature but the market is weak. That demands resilience and find (and accept) new approaches of your creation.

Contact Info:

• Website: www.bizard.life
• Instagram: benoitizard
• Facebook: benoitizard (i am more on instagram)

Image Credits
me