Ludovic Beillard sees art through the eyes of a child and the hands of a builder who doesn't need the hardware store because the power of infantile imagination transforms everything around him into playable objects. With his diverse journey through art from neometal, graphic design, documentary photography, concert chronicles, writing, the curious French then artistically feels his way to a wide variety of materials from plaster to wallpaper to latex. Not only his approach flows between different ages and fields, but also his aesthetics cannot be grasped in time.

What’s special in building miniature sets?

The feeling of play. You can adapt to the situation without measure and very little material. There is a feeling of freedom. Right now, I'm creating models in a cabin at the bottom of my parents' garden and it's great. The workshop is tiny, I can barely stand upright and I don't have my tools, but with wood from the garden, a cutter and glue I'm having a lot of fun. There's a trick that allows you to desecrate your works with the miniatures because you can do that with anything, cardboard, shoe boxes. You stay connected to your ideas like a kid playing. Playing is essential. And then in the miniature there is always something magical because you can imagine an animated film.

We love the creations out of orange peel, how you come to use this perishable material for your art?

I've always had a problem with organic living things. I prefer faded flowers or dead plants for example. I love to watch the living being metamorphosing, I love to try to freeze this transformation. A few years ago, I made stained glass windows with flies and for that I had to do a fly breeding in my apartment. Only some worms escaped from the bottles and it started to swarm in the apartment. I was panicked and had to start chasing worms all over the apartment while my girlfriend was sleeping. I told her a year later, she was thrilled. To come back to the orange peels, I wanted to consider the orange peels as leather, paper or flower petals, a bit like those flowers or insects that you capture in resin. And then this idea of cutting out simple shapes like a child would do.

In your art one feels immersed in scenery, abstract and atmospheric. How would you describe your aesthetics?

I often try to mix several eras in what I do, I want to create an organic time of my own. This notion of abstract or atmospheric decor stems from there, from this idea not to neutralize an object or an idea but to dissolve it a bit like in Beckett's theater. There is something a little dated in my work, something that seems to come from a bygone time and at the same time I borrow a lot from the universe of childhood, games, drawings, stuffed animals, wooden toys but also from religion.

What is the meaning behind recent artworks like “The decisive dawn of the Golden Age”?

I was invited by Catbox Contemporary for an exhibition. Catbox proposes to use cat trees as an exhibition format. I chose to build a temple in a cat tree inspired by the Mandarom site.

The Mandarom is a site in the Alpes de haute Provence composed of several statues including one 33 meters high representing the leader of the Aunism movement. The mission of Aunism is to spiritually renew the world in order to put an end to the reign of cosmic evil ... "The decisive dawn of the Golden Age" presents a monastery to allow cats to withdraw from the world.