The most obvious aspect about my work is the rigorous orange and black colour scheme, a duality that serves my purpose as a baseline from which the work expands. I enjoy the contrast between the orange, which seems to emit colour and light, and the black that absorbs colour and light, rather in the manner of Yin and Yang.

 

My studio practice generally features construction, for which mainly plywood is employed as a white-painted structural/supporting element, and then varying materials, ranging from fabric, digital prints and found objects, are used to build a narrative. Motifs that occur regularly are the number 6, magnifying devices, self-portraits, plastic oranges, silver forks and typographic elements. To an extent, many of my works are three-dimensional collages.

 

This is most manifest in the current series I have been working on, the Inkling series of wall-based objects. I enjoy the juxtaposition of separate distinct elements that deliberately lead to or veer away from an easy understanding of each individual work, rather in the manner of a rebus. In constructing these latest works, I have also attempted to work in a more intuitive manner, in order to allow my creativity to emerge unhindered by pre-conceptualising the outcome. The scale of these works leads them to feel rather like architect's models for buildings, or designs for future monuments. I have generally constructed each work around a central core, which features a particular motif, and which is naturally the focal point for each individual work. I then add peripheral items around this. Each of these works has two distinct stages in the making - the first is a rough and rapid construction phase, the second is a longer process of refining and finishing. I guess each work takes around three days from start to finish.

 

For me, making art is a fairly organic process that is limited by time and space and means. I have tended to work on a larger scale sometimes, but in fact over the last 6 months or so, I have deliberately set out in my practice to produce smaller work in series, whereby there are loose links between the separate works. This has also led me away from my previous making process, when I would have a big idea and then spend time rendering this. The act of making individual works that are part of coherent group has become more practical and satisfying for me.

© Ben Browton 2020

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