Inspired as much by the history of art as creative hobbies, Ludovic Beillard is as much interested in the religious sculptures and grotesques that we find in churches that the aesthetics of the meat put in salting, the braids hanging in the houses, or scarecrows intended to make the predators flee. Coming from a popular background, Ludovic attaches great importance to these types of practices and objects arranged with the means and materials available. the fact of giving to see certain processes like the matter ageing or even dying is as brutal as it is aesthetic for Ludovic. Through his work, he tries to capture and capture the living (s), to reveal the cracks, folds, wrinkles of a material borrowed from a story, as the face of an old man suggests the many past emotions, or fabric with holes and broken the fact of being worn many times. He seeks ways to capture these emotions and preserve them in his own sculptural and pictorial representations, in order to freeze an anecdote, a story or a legend as we freeze a material at a time T of its ageing to prevent it disappear and keep the image of a past time. For this Ludovic works his sculptures and his drawings like raw matter which already contains in her the representation of the history that he tries to describe. It becomes a somewhat mystical element in the process of creating the artist who has to do a long work of return, leaving the object to rest from time to time to see the forms he is doing emerge.