Benjamin Bridges

The Thinking Chair. 2012 onwards An increasingly important aspect of my studio practice is regularly sitting in silence allowing my thoughts to work themselves out. The noise filters down into arguments and images, itchy images that compel me to paint. Painting still lives allows me to create a private isolated moment of contemplation. The images include interactions of northern objects, prosthetics, animal morality, Xenia motifs, rhopography and reflections of the sanctum that is the studio. See the works

The Thinking Chair. 2012 onwards

An increasingly important aspect of my studio practice is regularly sitting in silence allowing my thoughts to work themselves out. The noise filters down into arguments and images, itchy images that compel me to paint.

Painting still lives allows me to create a private isolated moment of contemplation. The images include interactions of northern objects, prosthetics, animal morality, Xenia motifs, rhopography and reflections of the sanctum that is the studio.

See the works

Pythagoras Adrift. 2013 onwards I imagine an old man, both mathematician and mystic, alone at a desk that has been strapped to a raft. Oblivious to the churning waves he scribbles on, ungrounded and lost. I have appropriated symbols and structures which were designed to find 'the answers'. Removing from their context there can be no solutions or truth, just the guise of meaning. Only a shell remains, yet one I value in its balance and beauty. See the works

Pythagoras Adrift. 2013 onwards

I imagine an old man, both mathematician and mystic, alone at a desk that has been strapped to a raft. Oblivious to the churning waves he scribbles on, ungrounded and lost.

I have appropriated symbols and structures which were designed to find 'the answers'. Removing from their context there can be no solutions or truth, just the guise of meaning. Only a shell remains, yet one I value in its balance and beauty.

See the works

The Wild Sublime. 2011-2014 Landscapes have been used as a context, a commentary, or to reflect a particular memory. When I think of the mountains my mind aligns to what I have read of Kant and Burke's romantic sublime. There is a nostalgia that connects the places to the ideas and the way I was raised. There is an essential motivation to escape to a wild sublime. See the works

The Wild Sublime. 2011-2014

Landscapes have been used as a context, a commentary, or to reflect a particular memory. When I think of the mountains my mind aligns to what I have read of Kant and Burke's romantic sublime. There is a nostalgia that connects the places to the ideas and the way I was raised. There is an essential motivation to escape to a wild sublime.

See the works

Polyscapes. 2010-2014 I remember a huge boulder, completely out of place in the middle of a Norwegian valley. As a child I could not understand how it had got there, besides tales of trolls and giants. My father a geologist explained it as a product of glaciation. Though this was a marvellous idea, it closed the door on the wonder and speculation I had just felt. I want landscapes where there is an unanswerable question of what, how and who, inviting landscapes but ones with unfamiliar interjections. See the works

Polyscapes. 2010-2014

I remember a huge boulder, completely out of place in the middle of a Norwegian valley. As a child I could not understand how it had got there, besides tales of trolls and giants.

My father a geologist explained it as a product of glaciation. Though this was a marvellous idea, it closed the door on the wonder and speculation I had just felt. I want landscapes where there is an unanswerable question of what, how and who, inviting landscapes but ones with unfamiliar interjections.

See the works

Bizzaro Filter. 2013-2014 The face and figure are so well known, a ground so heavily trodden. As a serious subject it has become so dull, as a comic subject so disposable. I am convinced that there is a middle ground that is both images of figures that can hold my attention and yet make me smile. As in a cutting pun that spells out a painful truth and yet still makes us laugh. See the works

Bizzaro Filter. 2013-2014

The face and figure are so well known, a ground so heavily trodden. As a serious subject it has become so dull, as a comic subject so disposable.

I am convinced that there is a middle ground that is both images of figures that can hold my attention and yet make me smile. As in a cutting pun that spells out a painful truth and yet still makes us laugh.

See the works

Recently Added Works that have recently been uploaded to the site. Alongside new works, there are some pieces that have taken time to resolve or mature and some pieces only recently documented. See More

Recently Added

Works that have recently been uploaded to the site. Alongside new works, there are some pieces that have taken time to resolve or mature and some pieces only recently documented.

See More

Click on the collections above and then on the images for details and descriptions