Creatabot is a project that connects, promotes and supports creativity. Based in Medway, UK.
The School of Music and Fine Art, part of the University of Kent’s Medway campus, is proud to announce the new series of Visiting Artist Talks, which are FREE to attend but booking is required. Please email firstname.lastname@example.org to reserve your place.The venue is the stunning restored Church in the Chatham Historic Dockyard.
Launching the programme at 6.15pm on Tuesday November 10th is international Kent-based artist Benedict Drew, who works across video, sculpture, music and their associated technologies. Born in 1977, he graduated from Slade School of Fine Art in 2011 and was a LUX Associate Artist (2011/12). Drew’s often chaotic environments and installations feature screens, cables and small-scale anthropomorphised sculptures made from lo-fi materials such as tin foil and, occasionally, mud. Intended as a response to our ‘over-saturated digital realm’. Drew’s installations are attempts to ‘articulate the horror of the modern world.’
The artist says: ‘I make videos and music and exhibitions and picture and sculptures. I am interested in the potential of these combinations to create an ecstatic and sometimes abject alternative universe.’ A review from the current British Art Show observes: http://afternoondust.co.uk/blog/british-art-show-8#.VilIkxCrRR0
…Benedict Drew’s “Sequencer” is all about stuff: sticky, splodgy, gooey stuff, material through and through. His film presented across multiple screens is full of rough, ready landscapes of dirt and rock juxtaposed with paint erupting like volcanoes or oil burps. It’s also full of holes: holes that gape like ears, squish and stretch like mouths, or wobble like the cones of the speakers scattered prominently in front of the screens, spewing out squelchy psychedelic goop. Yep, it’s all about stuff, and that stuff is sound: gleefully trashing the painstaking refinement and posed ephemerality of much of contemporary sound art, Drew gives us an earful of messy, splurging sonic substance that injects the silent, airtight contemporary landscape with a gelatinous, technologically-mediated roar. The horror of the Real — the material encounter with a thingy world beyond the control of language — becomes the bass pulse you can feel.
Represented by Matts Gallery, London, Drew’s recent solo exhibitions include: Heads May Roll, Matt’s Gallery, London; The Persuaders, Adelaide Festival, SASA Gallery Adelaide, Australia; Zero Hour Petrified, Ilam Campus Gallery, School of Fine Arts University of Canterbury, New Zealand (all 2014); The Onesie Cycle, Rhubarba, Edinburgh; Now Thing, Whitstable Biennale; This Is Feedback, Outpost, Norwich; Gliss, Cell Project Space; and The Persuaders, Circa Site / AV Festival, Newcastle (2013).
Links: http://www.benedictdrew.com/ and information on Drew’s work which attempts to tackle the anxiety and neurosis generated from the condition of dyslexia can be found here: http://events.arts.ac.uk/event/2014/12/18/Benedict-Drew-Dyslexic-Shanty/)
PHOTO CREDIT: Charlotte Jopling, TIFF KAPUT Exhibition at QUAD July 2015