Benito Creature (°2010, Londinium, United Kingdom) makes sculptures, installations and mixed media artworks. By focusing on techniques and materials, Creature tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His sculptures are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. With a subtle minimalistic approach, he uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
His works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By demonstrating the omnipresent lingering of a ‘corporate world’, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By emphasising aesthetics, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. With Plato’s allegory of the cave in mind, he considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By merging several seemingly incompatible worlds into a new universe, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. In a search for new methods to ‘read the city’, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By creating situations and breaking the passivity of the spectator, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By applying abstraction, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of sculpture: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By questioning the concept of movement, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By choosing mainly formal solutions, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. With a conceptual approach, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in sculpture. Benito Creature currently lives and works in Berlin.
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