NEW PAINTINGS MAY 2009 CLICK ME NOW!
Please
wait while images upload thanks (It may take a few minutes!!!)
Please
contact the artist for commissions and extra info… he has loads!!
NEW PAINTINGS MAY 2009 CLICK ME NOW!
Contact:
Australian mobile +66 (0)420502277
Email:
funkdapunk@hotmail.com
The Metaocracy
of Benjamin Stuart
By Jon K Ubstou (BFCV)
Some
parents may tell their children to stop doodling and get on with there maths homework
but Benjamin Stuart decided at an early age not to listen to his would be
critics and continue to doodle any chance he got. What he was to develop was an
under scripted art form, as important as any discipline he was to lean at
school.
Layer
after layer of beauty was to emerge from the most undisciplined of line
drawings. Progress was made from a medium that everyone was capable off and
often carried out in everyday life, such as when on the telephone or at the
office.
He
of course spent more time than most people developing this medium and developed
into his own style.
Often
it was a journey backwards in time rather than forward as he has stated he
found more understanding in the primitive drawings of children and people with
alternative leaning abilities, than of the actual architectural adult artists.
This was not at all a criticism rather a form of enlightenment as at this age
and stages of development the laws of
physics had not been applied to the ‘un-conditioned eye’ and the pure form of
imagination had more factual relevance.
The
core inspiration of his artwork was initially lust and its physical
manifestation. After years of its representation it laid way to the symbiotic
introduction of many subjects and genres such as religion, gender, awe, layered
theories of philosophy and other 
similarities associated with the original inspiration of lust.
With
research into ancient primitive forms of depiction from
The
introduction of circles, patterns, spirals, squares, steps, plinths and columns
could be seen as a step away from the primeval overpowering emotion of pure
lust into a more mature and conditioned viewpoint on life.
This
is not what the artist seams to think as he agrees his focus has expanded and shifted
but only to find metaphors and similarities of emotion and physicality. This
may seam as to be the last throngs of adolescence pouring its heart out, so as
not to die in reality.
If
this is the case he does not disappoint as he continues to use the human form
in the most private of poses. The figures involve themselves entirely in the
picture bordering on the conservative viewpoint of pornography and his liberal
view of freedom.
He
has stated that when he is a grandfather he would like the snapshots on his mantelpiece
to be a collection of photos of the best sex he has had with is partner rather
than a photo of him and her in front of the Eiffel tower. That photo would best
describe their moment and a part of their relationship together, letting
everyone else share in that one beautiful moment. That would be a picture, he
said: ‘That would be the world I would like to live in, and that is 
the world I would like to archive, when everyone starts accepting this
viewpoint and puts it into their life ill hang up my pencil and start doing
something else.’
Of
course his doodles are now no longer doodles the genre is the same ‘the physical
form, and the energy it creates; awe and beauty’, but this is shown at any
cost. All parts of copulation are readily available for research to find
acceptance and beauty in a genre of taboo he has said is ‘almost too easy and
always to hard’. I think the artist is saying for him every aspect of
copulation has an element of beauty but for others maybe there will always be
nothing but disgust.
As
a direct result of the stigmatism of the genre the artist usually always draws
from memory. This allows a more abstract depiction of the form to emerge, it
also adds a narration as even more freedom can be added or created upon the form
(body) to express the emotions that we used when the scene was first
experienced.
This
step away from reality almost sugar coats the raw energy but because the
outcome is far more positive and relates to a bigger audience, than its primary
depiction, he continues this form of development for the greater good. His
first moral.
Only
the memory now exists as inspiration and this allows the artist to show and
represent the actual feeling and the visual information that he has processed
all at once. Is this truly what he wants to share the full emotion of lust
present, future and past?
Unfortunately he found this mundane (still rebelling in adolescence) as
to a point it perpetuated an end, it was finite. There was no relevance to this
in his practice. A story has a beginning, middle and an end, but what he had to
share was an eternity of ecstasy in one moment, a moment that lived forever and
that all at once never existed.
For
this he spent years depicting and categorising drawings and photography of
copulation, sexual scenes of isolation of self portraits and drawings of the
world and its similarities with the emotion of ecstasy.
With
the help of a computer and his collage skills he entered the world of the
masterpiece, converging all the images of form onto a single canvas. Here he
found that the process that had gained him the images could now be used on the
images themselves.
The
convergence of his two chosen mediums, photography and drawing was indeed at
times almost impossible as it would appear cheesy and out of place. But
sometimes there was a seamless gap that only these two mediums could supply
each other with.
The
manipulation of the photograph is not new but when the raw doodle is
superimposed upon it and through it, it provides the documentation and
narrative that the photo cannot on its own supply. This move away from an
actual traditional photo presented a new form of digital cogitation that in
years to come will serve as a visual basis for the production of photography as
a medium.
This was for the artist one way to depict his creativity and share his admiration
of lust but without the photograph the artist had an even more easily pliable
body of work. He now had a collection of catalogued drawings that could be
added, like a computer together. Each was stored in an organized folder
diffracting between: being drawn at the same time/session, depicting a
particular satellite emotion of lust, or storing a whole genre or of pose’s that
has been drawn over a long period of time.
The
artist had made many pieces extracting 
different drawing from different times of his life and putting them all
together to make one large whole piece. After sometime he realised that when he
extracted these images he could create an image that was consistent with the
emotion that he was feeling at the time. So instead of now just documenting an
emotion, he was creating a story for viewer and himself.
The
research had given him a formula to create what may even be a surprise to him…
it didn’t pigeon hole its self through narration and provided a continual double
helix that was and is freedom on the canvas. For he, himself was now seeing the
painting for the first time and its abundance of personal coincidences and
forms of reality. If this is the true nature of modern art, he has been lucky enough
to be rewarded with this creation right before his very eyes.
The
formula I was searching for: by the artist
“It
is a given to say everything has an infinite amount of possibilities, perspective
and viewpoint. The only way to describe these anomalies is to record, write
down or draw each one. Then as best as you can you must organise them into batches
of cosmological discovery or in a personal system of understandings. Because
what u have written down u will find, will have some continuity, even if it is the
first level of a research pattern. It may takes one year to complete the first
revolution, maybe more but the subsequent levels are being built upon from the
origination of the research.
What
is created is interest and is best described as a circular cylinder of research
with each part of the sides being added to as you continue the research.
‘The
research may appear at first to be random as it contains too many elements but
with time the invisible consistency layers itself continually. Possibly once
this journey has started past the comprehension of the artist and beyond. This
is my artist practice and my drawings are my art.’
Then
within my cylindrical sphere I present all the extracted elements together, for
me it realises itself on a 2d canvas or plane.
Here the research drags the cylinder (where the painting has been placed
inside) into two brackets facing the opposite direction. It creates a donut in
time as the force that attracts all the coincidence from the middle of the
brackets pushes the ends together.
It
is completely whole and never-ending in 3d space. Consequence has joined the
two outer layers to be presented in a seamless sphere. The coincidence is that
this is similar to the magnetic fields that objects produce.
If
everything we see is an echo of physics (pie) and the world, then this formula
may represent the world beyond our knowledge and the metaphysical state of time
as seen within our brain. Understanding that the power of imagination holds
more truth than reality would let us believe.
The
world only exists because we think it.
I
only think this, because it is how I think this”
If
I think will this answer all my questions or are there no answers to question?
Noting
is something and nothing is something
