Ben Woodeson   Back  

During the Pandemic lockdown, Ben Woodeson has been making new work in Brighton and developing online projects including Cognitive Contagion an ongoing instagram text art platform. Recent and upcoming exhibitions include Maybe, Maybe an online project for MOCA London (01/09 - 30/09), Washing Line curated by Patrick Morrissey, Hanz Hancock and Neil Zakiewicz for Thameside Gallery, London (17/10 - 01/11), Liz May : A Personal Perspective at APT gallery, London (05/11 - 08/11) and The Royal Academy (Summer) Winter Exhibition 2020.


Contact:   For information or regarding the availability of works please contact the artist's studio.  



Dividing his time between Roswell, New Mexico and Brighton on the south coast of England, artist and curator Ben Woodeson was born in London and studied at Glasgow School of Art. He has recently spent time researching and making work in New Mexico, Wisconsin, Mexico, Vietnam, Spain, Germany and England.

Woodeson has exhibited extensively throughout Europe and North America. Recent exhibitions include Between One Thing and Another at William Bennington Gallery (2018), Burning Ring of Fire at Amarillo Museum of Art (2018), Ireland Glass Biennale at NCAD (2017), Midway Between Immortality and Certain Death at The Roswell Museum and Art Center (2017), The London Open at The Whitechapel Gallery (2015) and Obstacle at Berloni Gallery (2015).

He has been selected for exhibition by a range of international curators including Simon Faithful, Kristoffer Gansing, Ann Jones, Andres Mengs, Ben Roberts, Mike Stubbs, Virginia Torrente, Marc-Olivier Wahler, Mark Wallinger and others.

Woodeson has curated / selected various projects and exhibitions including Solid Gone for Sordoni Gallery in Wilkes-Barre, PA. Morphisisation for APT Gallery and The Nottingham Castle Open (one of four selectors).

He is the Director of Art Roswell a new curatorial organization that plans to bring artists and art works to Roswell, New Mexico for public art projects and curated city-wide exhibitions.

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        We're in this Together and Making Eyes at You  

We're in this Together and Making Eyes at You shown at William Bennington Gallery Projects, London 2018


    Recent work:  
What happens if we miss a bus? Or burn a cake? Or turn left instead of right?

We face potentially momentous events with every passing second. Instances when known or unknown risks and alternatives vie for consequence. 

Do we look before stepping off the pavement? When we turn left or right, do we meet the love of our life or fall and break a leg? What about when everything is out of control?

Ben Woodeson does not consider these potentially banal instants to be intrinsically positive or negative. Rather, his recent work embraces the boundless possibilities of chance; moments of potential change that shape our lives and the world around us. Drawing from a range of different sources; from earthquakes and holes in the ground to armed conflict, statistics and historical records he seeks to lionise the what if? moments.

Representational works-on-paper, assembled from glittering card, contrast with precarious sculptures that seemingly contain the seeds for their own destruction. The works focus in on moments of potential impact; points of change, whether for isolated individuals, societies, cultures or simple day-to-day consequences.

Central to the work’s construction and positioning is a deliberate sense of vulnerability, both to the artwork itself and the viewer. Woodeson investigates and celebrates the idea of the crucial instant through material experimentation; assembling and sometimes reshaping materials including window glass, pliable foam, clay, cast iron, acrylic sheet and sparkling card. Some materials remain effectively unaltered while others might be changed through a range of high and low-tech processes including kiln-forming, laser-cutting and metal casting. The works are inevitably fragile, seemingly containing the seeds for their own destruction, they wait for change, whether the intervention of a clumsy viewer or the slow entropic decline of the years. 

In several recent series, he draws from research made after the 2017 earthquake in Mexico City. Depictions of small cracks and holes in the city’s pavement become vessels representing all that might, or might not be. Mundane fault lines loaded with potential are processed through drawing or photography finally becoming two-dimensional eulogies, talismans in ink, glitter and vinyl. These overlooked glitches in the city’s fabric become items and ideas of celebration - artworks bursting with exultant exuberant colour like flavour erupting from cheap candy. 


        A Straight Line from Extreme Yellow to No More Drama  

A Straight Line from Extreme Yellow to No More Drama shown at The Roswell Museum and Art Center 2019



Text by David Barrett, of Art Monthly reproduced with thanks


Ben Woodeson is, at heart, concerned with traditionally modernist sculptural ideas, exploring and highlighting the physical properties of the materials that he works with. But Woodeson takes modernism’s ‘truth to materials’ maxim to a logical extreme by making the viewer aware not only of the materiality of the sculptural objects but also of the viewer’s very own physical properties: the softness of our flesh is never more apparent than when threatened by the edge of a tensioned sheet of unframed glass; the openness of our nervous system when in proximity to an electric charge; the skull beneath the skin when confronted by a rapidly swinging cobblestone. If a trend in recent art has been to view the artwork as an interaction not between viewer and object but rather between multiple participants – relational aesthetics’ intersubjective understanding of art – Woodeson’s work might instead be described as intrasubjective; making the viewer acutely aware of their own corporeality as the work forces them to rely on their own sense of proprioception. To achieve this, Woodson utilises a – sometimes literal – high-wire act, walking that narrow line that defines the limit of his materials, stressing them with potential energy until the weakest link in a molecular chain gives up and the sculpture’s sense of self is ruptured.


        The London Open at The Whitechapel Gallery 2015  
        The London Open at The Whitechapel Gallery 2015  
        Obstacle at Berloni Gallery, London, 2015  
        Obstacle at Berloni Gallery, London, 2015  
        Obstacle at Berloni Gallery, London, 2015  
        Obstacle at Berloni Gallery, London, 2015