top of page

Benjamin Arthur Brown works across sculpture, writing and sound, with frequent deviations into other media, investigating what he calls the ‘suspended realism’ of our current state: which is the experience of the contradictory feeling of things moving at great pace (i.e. technological development) yet also the feelings of either stagnating or moving backwards (socially, infrastructurally and/or politically). This gives life a certain, uncanny haze, from which many narratives can be drawn.

He is an Associate Curator at San Mei Gallery and Van Gogh House and is the creator of the performance platform ‘NOSE BLIND AND HUMMING’. Brown also broadcasts a monthly radio show on RTM.fm called 'A LEG AND A CHIN'

.

Education:

Slade School of Fine Art (UCL) 2013-2017

Colchester Institute 2012-2013

Prizes: 

A-N (artist newsletter) Bursary 2019

Stanbury Scholarship, UCL, 2017 

Commendation from Shakespeare Birthplace Trust, 2017

Stanbury Scholarship, UCL, 2014

Exhibitions

Potion Room, Subsidiary Projects, London 2020 

Ten, Norman Rea Gallery (York University) 2019

AfterHours, San Mei Gallery, 2019

Creekside Open, Selected by Brian Griffiths, APT Gallery, 2019 

Artificial Heavens and Day to Day Hells, Ware Maltings, 2018

NOW NOW (duo Show with Alex Lewis), Take Courage Gallery, London, 2018

HOW WIDE IT WAS HOW DEEP IT WAS HOW MUCH OF IT WAS MINE TO KEEP (Curated), San Mei Gallery, 2018

EVERYTHING WAS BEAUTIFUL AND NOTHING HURT (Curated), San Mei Gallery, 2018

Public Relations, Old Street, 2017

Creekside Open, Selected by Jordan Baseman, APT Gallery, 2017

‘Cache Sex Karaoke’ (performer)  by Simon Vincenzi, The Barbican , 2016

MISBEHAVE, Tottenham, 2016

NO SPACER, The MART gallery, Dublin , 2016

and how do you feel about that?, New School House Gallery, York, 2015 

SPARKS, Queen Elizabeth Olympic Park,  2015 

HAVE A NO: Spread the Spoken Word (organised), X marks the Bökship, London,  2015 

you’ve got my bone, O YES, Soho, 2015

Doleful Shades, Crypt Gallery, Euston, 2015 

Ben’s Show(Curated), Camden, 2014

bottom of page