In his practice of drawing, sculpture as well as music, Benjamin L. Aman opens up imaginary and abstract spaces. These are all slips into other possible states of consciousness that they arrange, because the spaces that the artist summons are both sensitive and mental, influencing in the manner of architecture on the perception of its occupants. During the drift, we gradually leave the usual representations to move towards new apprehensions.

An attentive eye will observe, in his series of drawings, that it is a matter of transitions - starting with the gaze, since each work is swept away by variations in shadow: delicate statements, using dry pastel or of graphite, passages of the caches that the artist manipulates to make his drawings. The resulting cloudy forms withdraw from the clarity of sight and then participate in a dark, almost blind vision; choosing, instead of representing their object, to offer a more synaesthetic image of it, such as for The Heat of the Running Engine. They thus excite another sensibility, when they invite to enter, among the night of the pastel, in the memory of their space. Because the obscurity of Benjamin L. Aman's drawings preserves the memory of these passages (those, very real, of the caches), of these fleeting presences which have trodden the surface of the sheet and marked it with their shadows and spaces. vaulted #1 literally erects an architecture in the work, through which the ghostly objects pass.

REDSHIFT, through 5 sound pieces, offers as many perceptual experiences to the viewer. Each of the pieces can be listened to on a mobile headset, thus encouraging wandering. Crossing the space equipped with one of the headsets means experiencing the environment differently, or even other works (in the context of an exhibition), while the sound layers of this work set the tone for the perception . If the music of the first track, entitled Redshift #1 l'étang, tunes its melody to a commonplace, marked by monotony – stagnant water on the surface of which conglomerates and other crystallizations form; the following ones become more and more airy, opening, listening to the fifth track, on the distance: REDSHIFT #5 the distant sky. We then feel an impression of dissociation ... because the space, in which the music made us evolve, has become detached from reality; adopting, to the ear, a certain abstraction at the same time as we slipped according to the notes in an ethereal space.

Inside the small circumscribed space of the box of The Music of the Spheres, a light descends from a neon on elements of cut cardboard, all of a uniform gray. There is, either by the dimensions of the whole, or by the materials used, an impression of familiarity that emerges from this intimate decor; an impression that undermines, curiously, the silence and the opacity that envelops these objects, whose simplicity increases the mystery. A hiatus for the imagination, discovering the unrecognizable and scattered aspect of the small arrangement ... just as the universe is not the ordered space that we once imagined and that an engraving reproduced in a corner of installation by Benjamin L. Aman, but in fact responds to a chaotic principle of entropy. The Music of the Spheres appears well, under this idealistic and antiquated title, as the disorderly theater of a miniature universe playing with scales and conferring cosmic dimensions on these cardboard vestiges.

   Antoine Camenen (2019)