Benoît Luyckx always imagines his work as such, naturally, but also in a manner that will imply its integration, its adaptation to the important volumes of current buildings. Above all, he does not want his work to be seen as a decorative adjunct, but more as an integral part of the whole building, and in accordance with the architect’ ideas and aims.

Each one of his work, quite obviously can, once it is developed, occupy an important place, for they are see as architectonic elements without interference. This explains his wish to be involved right from the start of the building’s inception so as to be even more integrated, to act together in order to obtain a more coherent whole in the space jointly chosen.

Her is an oeuvre which always calls out for the monumental scale […].

extract from the text written by Patrick-Gilles Persin, art critic

Palais de Justice d'Evreux
Immeuble Microsoft, Paris 7e
Fondation Het Depot, Wageningen, Pays-bas
Siège Social de Chanel, Neuilly-sur-Seine
Hall de l'immeuble Millénaire V, Aubervilliers

Low-reliefs for the Monte Carlo Bay hotel entrance hall, Monaco, 2005

/ Pierre-Yves Rochon interior architecture

"Les Ailes de l'Ange", 2007, white marble, av. Hoche Paris 8ème / François Braun - Bernard Grenot architecture
"Les Trois Grâces", 2009, Estremoz White Marble (Portugal), Generali building, Paris 9ème / Béchu architecture
"Fontaine Mur d'Eau", 1999, Belgian Blue Stone, particular collection Paris 7 ème

“Duo Nador”, 1987, H.200 cm, Belgian Black Marble, exhibited at SAD, Grand Palais, Paris