Every cell and every organism is forced to somehow explore its surroundings and establish appropriate patterns of acceptance and avoidance. Contacting other things with its outer surface is the only means life has of reaching beyond itself.
Juhan, D. (1987) Job’s Body. A Handbook for Bodywork. p24.
Born and raised in the village of Ovingdean on the outskirts of Brighton, Ben studied anthropology at Durham University and trained as a dancer at the Northern School of Contemporary Dance.
His art incorporates illustration, clay, charcoal and the thinking body and in 2016 he completed a masters programme focused on the role of thewithin creative practice.
The craftsman needs to embody the tool or instrument, internalise the nature of the material, and eventually turn him/ herself into his/her product, either material or immaterial.
Pallasmaa, J. (2009).
The Thinking Hand. Existential and Embodied Wisdom in Architecture.
Ben’s practice proposes a conceptual distillation from the position of being in making, which enables the doer to frame an idea whilst simultaneously allowing space for it to evolve within a kinetic field.
As a felt sense this unfolding trajectory encourages the maker to shift conceptual boundaries in order to explore the archive of the thinking-body, intertwining the threads of practice-based research.
Lives are lived through, around, from place to place with no necessary focal point; we are not fundamentally bound but unfolding along paths.
Ingold, T. (2011) Being Alive. Essays on Movement, Knowledge and Description.