Ben Cove

Ben was featured artist during 2015.  Sadly he passed away in 2016 and we have kept this 'feature' as a reminder of the remarkable work he produced.  He was one of the most friendly and professional artists we have worked with.  Providing what we needed and on time.  It was a pleasure to get to know him a little through our extended email conversations.

 

An initial training in architecture fed directly into Ben Cove’s art practice, particularly in terms of the physical and cultural legacies of Modernist practices and their associated visual languages.

Dissenter, acrylic on panel, 50x62.5cm, 2015

He was primarily interested in forms of construction: the processes and languages of building; the construction of historic and personal narratives; the manner in which hierarchies are established and their relationship to the individual; notions of endeavour, failure or collapse and the relationship of the body to that which is designed and built around it. He made work across a range of media with individual works often conceived to form coexisting relationships to one another, frequently formulated with specific spaces in mind.

 

Freeloader, acrylic on panel, 40x40cm, 2014

Ben Cove lived and worked in London. After studying for undergraduate degrees in Architecture (University of Nottingham 1992-1995) and Fine Art (Sheffield Hallam University 1998-2001) he worked from a studio in Manchester for 5 years. In 2006 he relocated to London to undertake an MFA at Goldsmiths College (2006-2008) and to take up a place on the Acme Fire Station work/live residency for 4 years.

 

Interloper, acrylic on panel, 50x62.5cm, 2014

He exhibited extensively in the UK, and overseas. Solo exhibitions include New Plastic Universal at Castlefield Gallery, Manchester in 2004, Practical Mechanics at Cell Project Space, London in 2006, and Vernacular Hangover at the Acme Project Space, London in 2013. He was included in exhibitions at Dalla Rosa Gallery in London, Airspace Gallery in Stoke-on-Trent (touring to Japan) and Galerie Patrick Ebensberger in Berlin. In July 2015 he took part in The London Open at the Whitechapel Gallery, a triennial exhibition “showcasing some of the most dynamic work being made across the capital in 2015.”

 

Eve, digital print from 1972 American Press photographs, 3 paintings, 450x300cm approx, 2013

 

More details about Ben Cove's work:

www.bencove.com

twitter.com/Ben__Cove


Interview:
Ben Cove: ‘I don’t want to make work that is comfortable’, Writing in Relation
writinginrelation.wordpress.com

Painting ‘time-lapse’

Ben Cove - painting 'timelapse' from Simple Sites for Complex Things on Vimeo.

 

 

The Most Expensive Painting in the World?

Paul Gauguin painting sells for record $300 million to Qatar Museums in privates sale.

A new record price for an artwork, nearly $300 million, may have been achieved with the sale of a Paul Gauguin canvas by a Swiss collector. The buyer is rumored to be the Qatar Museums.

The seller, Rudolf Staechelin, a retired Sotheby's executive who now lives in Basel, confirmed the sale to the New York Times, but declined to identify the buyer or disclose the price.

The 1892 oil painting, Nafea Faa Ipoipo (When Will You Marry?), is one of over 20 works in his collection of Impressionist and Post-Impressionist art. Prior to the sale, the Gauguin canvas had been on loan to the Kunstmuseum in Basel for close to fifty years.

 

More details at: artnet.com

  • Published in News

Light Painting

Sometimes things come along and you just have to wonder at the ingenuity.  Pixelstick is a project being funded through the Kickstarter crowd funding site and takes the idea of waving a flash light around into a whole new category!!

Take a look at the video, which demonstrates just some of the things you can do with this proposed 'device'.  Drawing in space has never been so easy - if enough of us help fund it!  The makers are based in Brooklyn so, if you are familiar with the area, you might recognise some of the night locationst!

Light Painting Tool via Bubble

Andy Wicks

Andy Wicks recently completed a year-long residency at the Florence Trust in London.

His paintings depict objects that might initially appear otherworldly or imagined, but are in fact real structures for mooring boats that can be seen - should you look - dotted along the River Thames. Existing some place in the no-man's land between improvisation and ordinary functionality, they appear alternately too decrepit for use, or else modern, robust and sturdy.

These mooring stations are called 'dolphins', an appellation that seems arbitrary given their utter lack of physical resemblance to the marine creature. Also seemingly arbitrary is their ad hoc composition and materiality: they can be built out of anything from pressure-treated pine to hardwood, reinforced concrete, or steel girders and tubes. Here, form follows function – but there is also a unity to their robust armature and tide-washed weathering, rusty iron, and agglutinated patches of algae fronds.

Wicks' paintings have a striking figure-ground contrast: the backgrounds are often rendered with a muddy-watery effect created by mixing resins, thinned oil paints and other mediums, which the artist agitates into  eddies of bare canvas and coagulated paint – a process that echoes the flow of the river itself.

Colin Perry, 2011, Originally Published in Florence Trust 2011 Catalogue

Image: Maria, 2 canvases at 89.5 x 56 cm, Oil on polyester, 2011

 


More details about Andy's work can be found here:
www.andywicks.co.uk
andywickspaints.wordpress.com

He is also on Twitter @StudioWicks

 

  • Published in Artists
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