Ben Beeton Curriculum Vitae (21 KB)
|2002||BA (Honours) Visual Arts, Deakin University, Melbourne|
|1997||Bachelor of Visual Arts, Southern Cross University, Lismore|
|1994||Certificate in Visual Arts, Toowoomba Technical Collage|
ARTIST RESIDENCIES AND TOURS
Artist in Residence Mission Statement: Create art works & interactive works that drop a thread through the ecology, geology and deep time history of specific regions incorporating traditional and digital mediums.
2015 Artist at the Desert Park Alice Springs
2015 Artist at El Nido Eco Resorts, Philippines
2015 Artist residency at Eco-Sciences Precinct Queensland
2015 Artist residency Naracoote Caves
2013 Artist with Australian Geographic scientific research team on a project in the Kimberly which studied the impact that cane toads were having on the ecology of the Kimberly
2013 Artist with Bungle Bungle scenic flights
2013 Travelled through New Zealand as research for a work titled from Great Barrier Island to Stewart Island
2013 Artist with Coromandel Adventures
2012 Residency at Driving Creek Railway Coromandel New Zealand November - January
2012 Zealandia – A journey through the North and South islands of New Zealand researching the ancient continent of Zealandia and its Gondwanan origins. Scientific consultant Hamish Campbell Geologist/Paleontologist
2011 Digital artist/film maker for The Menindee Lakes Art about Science Environmental Awareness Project. The objective was to visit the locations visited by the naturalist Ludwig Beckler 150 years ago, collect the plants that he collected, draw them, press them and make a series of films that documented the process as well as providing a broad overview of the regions ecology, geology and deep time history.
2010 Artist for the Burke and Wills Environmental Expedition. The objective of the project is to retrace the footsteps of Burke and Wills noting the environmental changes that have taken place since the original expedition. On the trip I created A4 postcard images and films. The idea being that kids at schools can print out the images, stick them together and then watch the accompanying films on the Culture Vic website. http://cv.vic.gov.au/stories/burke-and-wills-the-art-of-science/10214/becker-and-burke/ http://www.cv.vic.gov.au/stories/burke-and-wills-the-art-of-science/10445/bens-ammonite-discovery/ http://www.youtube.com/user/BurkeAndWillsExped#p/u/47/oFZQ_aVD5yk
2009 Artist on tour for Wrights Air with paleo-botanist Mary Dettman. Wrights Air specialize in flights over Lake Eyre and The Painted Hills
2009 Residency at Sugarloaf Mountain Retreat http://www.youtube.com/watch?v=t3m3v8qd7z0&feature=related
2008 Residency at the Boyce Gardens, A remnant rainforest on the Great Dividing Range in Toowoomba http://www.youtube.com/watch?v=xotjvLtbJIQ .
2007 Residency at Dunmoochin July – October http://www.youtube.com/watch?v=NYcabgJHRk8&feature=related
2006 European Sublimity with artist William Boot, through a tour of the major galleries in Europe
2006 Residency at Bundanon, October –November
2006 Residency at Hill End, July –August
2006 Residency at Fowlers Gap, April
2006 Residency at Broken Hill, March
|2009||Residency at the Boyce Gardens, sponsorship through the University of Southern Queensland|
|2008||Residency at the Boyce Gardens, funding through the Regional Arts and Development Foundation|
|2006||Funding for the Hill End residency through NSW Department of Conservation and Environment|
|2006||Funding for Broken Hill and Fowlers Gap Residencies through the RADF, the Broken Hill City Council|
|1997||Recipient of funding from the William Fletcher Trust|
|2006||Travelled Extensively through Europe with William Boot|
|2006||Finalist in Broken Hill Regional Gallery's Australian Outback prize|
|2006||Short listed for Conrad Jupiter's Casino Art Prize|
|2005||Winner of the abstract painting section of the Courier Mail art competition|
|2005||Finalist in Hills Grammar School art prize|
|2005||Finalist in Broken Hill Regional Gallery's Australian Outback prize|
|2005||Highly Commended Warwick Art Prize|
|1998||Awarded Cam Robertson prize to exhibit at Toowoomba Regional Gallery|
|2009||'Gondwana in Toowoomba' Works from the Boyce Gardens Residency|
|2008||'Botanicals' Botanical artworks in collaboration with Gillian Scott & Stephanie Kim|
|2007||'Earthen Memories and Natural Systems' Project 2 Edwards Gallery – Brisbane.|
|2006||'Earthen Memories', Broken Hill Regional Art Gallery|
|2005||The Mechanics and Selected Outcomes of Evolution, Toowoomba Regional Art Gallery|
|2004||'590 Million Years on A Flat Surface' Smyrnios Galleries Australia, Melbourne|
|2002||'A Year of Painting', Melbourne Arts Club Gallery|
|2000||'Suppressed History, a further exploration', Melbourne Arts Club Gallery|
|1998||'Suppressed History', Toowoomba City Gallery|
COLLECTIONS - Downlands Collage, Saint Saviours High School, Private collections
The Landscape and Natural History of a Region in Art Form
It has struck me in my travels through Australia how little we as Australians know about our natural heritage, not to mention its natural history. My artistic practice draws its inspiration from an understanding of the natural environment and its evolutionary history. Through a fusion of photography, computer generated images drawing and painting I aim to produce artworks that hold a balance between a subjective and objective appraisal of the natural environment. I am fascinated by the ancient past and how it relates to the present environment. I believe that the myths that attach both indigenous and non-indigenous Australians to the land (in which the artist has played a strong role) can be informed on a deeper level through the work of contemporary practitioners who inform themselves about Australia's natural history in order to incorporate this information into their artworks. In conjunction with these ideas is the notion that all elements of landscape are comprised purely of ‘star dust’. By ‘star dust’ I mean elements that are neither born or die, but merely change form in endless recombination’s.
My Approach to Landscape Painting
From my experience the majority of the new hybrid art work that is generated through the integration of multimedia images and traditional mediums of painting and drawing has a sense of being uncomfortable in the union of these two very different mediums. I have seen many examples of artists responding in a very expressive and aggressive manner when applying paint over digital images or in turn dealing with the problem by applying paint in a way that mimics the nature of the digital image. What’s more the topics are generally not nature orientated. In 2000 I had a vision of creating multimedia art works that held the same aesthetic as my paintings. It has taken a number of years for me to become sophisticated in the use of the necessary software and refine a visual harmony between the two. Through this I create surfaces that for me hold a dialogue between a presence of the natural world in its current state and its evolving motions through time.
My landscape is in flux, it is a landscape of shifting surfaces. From my perspective the moment requires a strength and contrast that the passage of deep time does not normally convey when it is contemplated. With these aesthetic and spiritual sensibilities my practice has much in common with many ancient Chinese landscape artists. . Through a technique of broken washes, Zen artists “sought to express the underlying unity of all things” (Sullivan 1979). Yet I can see that they still appreciated the delicacy and intricacy of nature. By interweaving the intricate and the gestural I believe they achieved a balance of contrasts between the depiction of a landscape that is of the moment and, concurrently, in a state of becoming. As common methodology these artists embarked on a journey of contemplation through nature. Only when they had settled upon what they interpreted as nature’s mood did they return to the studio. I am interested in the aesthetic that may be derived from of adopting the natural environment as a collaborator.
(1) Scientific Research Methods
The methods I use to assemble data are those conventionally associated with scientific inquiry. I use secondary sources, consultation with experts in the field, journals, books and museum material to deepen my understanding of the topic.
(2) Artistic Methods
My multi-media work incorporates digital photos of a region and its flora and fauna, journal work e.g. rubbings, sketches of the flora, fauna and landscapes, images of relevant fossils and maps. I scan my drawings onto the computer and incorporate them into my digital photos. I am investigating the possibility of using satellite images of relevant sites and through magnification the structure of found objects in my new work. I print my digital images onto canvas using an industrial ink jet printer and then paint into them.
Scientific Research Methods
The methods I use to assemble data are those conventionally associated with scientific inquiry. I use secondary sources, consultation with experts in the field, journals, paleo-geological maps, books and museum material to deepen my understanding of any topic I am studying.
My multi-media work incorporates digital photos of a region and its flora and fauna, journal work e.g. rubbings, sketches of the flora, fauna and landscapes, images of relevant fossils and maps. I scan my drawings onto the computer and incorporate them into my digital photos. I am investigating the possibility of using satellite images of relevant sites and will combine this with my other sources to better understand and represent the structure of the life forms and landscapes in my new works.
I print my digital images onto canvas using archival printing techniques and then paint into them.
Gondwana in Toowoomba
This is a documentary about an artist residency that I did with Gillian Scott at the Boyce Gardens. On this residency we were focusing on the remnant rainforest, its evolution and its supporting geology. To view art work from this residency go to; http://www.artaustralis.com/ben-beeton/digital-fine-art-1/2008-boyce-gardens
Hampton Corridor of Trees
Hampton is a small area outside of Toowoomba. A small remnant of wood land which acts as a natural corridor for wildlife is under threat by Main Roads. These videos question the wisdom of this proposed destruction and high light what stands to be lost. We encourage all citizens of the Toowoomba region who do not want this destruction to take place to lobby the Mayor Peter Taylor and other prominent members of the Toowoomba City Council to stop the destruction.
Hampton Corridor of Trees Part 1 with Peter Macqueen & Ben Beeton
Hampton Corridor of Trees Part 2 with Peter Macqueen & Ben Beeton
Hampton Corridor of Trees Part 3 with Peter Macqueen & Ben Beeton
Hampton Corridor of trees part 4 with Peter Macqueen & Ben Beeton
Hampton Corridor of Trees Part 5 with Peter Macqueen & Ben Beeton
Hampton Corridor of Trees Part 6 with Peter Macqueen & Ben Beeton
Hampton Corridor of Trees Part 7 with Peter Macqueen & Ben Beeton
Hampton Corridor of Trees Part 8 with Peter Macqueen & Ben Beeton
In the Suburban desert Toowoomba with Ben Beeton and Peter Macqueen
Sugarloaf Mountain with Ben Beeton and Peter Macqueen
These films are from my artist residency at Sugarloaf Mountain Retreat. To view art work from this residency go to; http://www.getabstractwallart.com/benbeeton/digital-fine-art
Peter Macqueen IDs plants at the Helidon Hills film by Ben Beeton
At the front of my web site I have pointed out that I do original one-off paintings and digital art based on the studies I use in understanding a particular project. This creates photos, drawings and digital studies. As I work I often combine these media into digital images.
My digital works are the foundation images I create when trying to understand an artistic problem. When I create a painting I may use the spatial arrangement and image outlines to form a basis for the painting.
When I do this I do not offer the digital image that is the foundation for the painting for sale.
Consequently I have two forms of art.
My paintings are offered through galleries as single works or works in a series. They are original and unique. The base image will never appear for sale as digital art. All paintings are signed, dated and numbered.
With my digital art I select the best remaining images and offer them in limited editions of 50. I keep a record of sales and when all are sold no more are produced. All digital works are stamped and numbered.
Sometimes a person will choose to purchase an image exclusively for their enjoyment. If we arrange to do this the image edition is terminated and no more are ever offered for sale. This termination is placed in my records and on my web site.