Ben Edmunds Artist: Has 0 artworks for sale
Artist: Ben Edmunds
Live in: London, London, United Kingdom
Artworks for sale: 0
Ben Edmunds Artist Bio:
Ben Edmunds (b.1994) is a painter living and working in London. He studies MA Painting at The Royal College of Art, London. Recent exhibitions include Ludo (solo show) at The Front Room, Deptford, and The Affordable Art Fair, Hampstead. Artist Statement ⚽︎ ⚽︎ ⚽︎ My primary concerns in painting are formal: where units are located; tension between visually dissimilar elements and how shapes and lines interact with each other and with the limits of the canvas. They are arenas for considered battles between authenticity and appropriation, gestural marks and hard-edge forms, thick paint and thin stains, flatness and illusionistic depth. They are paintings with an immediate impact, but are also self-reflective and thoughtfully constructed with layers of information that reward closer looking. The fundamental contradiction in my paintings is that between the calculated and the intuitive. I have a programmatic approach to designing, editing and rearranging forms, which happens in Photoshop. Inspired by Gilles Deleuze's suggestion that beauty is taking a language and making it stammer, I like to disrupt this procedural approach. This leads to surprising material and visual discoveries; something unexpected begins to assert itself and I try to be increasingly sensitive to it. Spatially, I imagine my paintings as arrangements of near and far elements that slot into place like stage sets. The conterminous layers influence each other, but rarely touch. Sometimes they conceal one another, butt up against their neighbour or act as backdrops for foregrounded elements. They exist uncomfortably in an imagined architectural space, rather than the metaphysical, shallow space of a painting. I try to capture the brief moment these layers align to form a composition and allude to the information lost in the parallax. The flatness of abstract painting - originally championed by Clement Greenberg, but recurring ever since (recently in the zombie formalist abstractions of Christian Rosa, Lucien Smith and Jacob Kassay) - is challenged by opening up the potential spaces between the layers. Contextually, I am interested in how contemporary artists position themselves in relation to a western history of gestural abstraction. For me, the late modernist gesture was too invested in authenticity and integrity to be critically engaging, but the emptied, postmodern gesture was too critical to have any authorial value. I relate to artists such as Amy Sillman, Laura Owens and Charline Von Heyl, whose gestures are poised between sincerity and irony, displaying genuine formal and material concerns, but whose work also reflects critically on its context.