B12
Brooke Benington presents a dialogue exhibition featuring sculptor Andrew Sabin and painter Ross Taylor. This booth explores the shared theme of surface in their artistic practices, emphasising the intersections and resonances in their work. Both artists, in different ways, transform surfaces into complex layers of information and texture.
Andrew Sabin’s 40-year sculptural practice has, in his own words, been “a search to increase the amount of surface where stuff is happening - the more surface area, the more information.” His sculptures feature cavities and crevices that invite the viewer to explore internal surfaces. He merges industrial processes with natural forms, creating intricate voids reminiscent of geological formations, corals or fungal forms. Using pigmented concrete cast into moulds made using industrial margarine, Sabin sculpts from the inside out, revealing complex surfaces once the margarine is removed. His sculptures draw viewers into a dialogue between external and internal spaces, where surface and void are equally significant.
Ross Taylor’s paintings delve into surfaces through a process of layering, stripping, and reworking. His concept of emergent space blends production and consumption in a dream-like realm. Taylor’s canvases, marked by crinkles and creases from prolonged storage in the studio, transform imperfections into spectral figures. His methodical process creates a non-specific poetic language, where pigments migrate between works, linking each painting to a broader narrative. Taylor’s surfaces become rich fields of interaction and transformation.
Andrew Sabin’s 40-year sculptural practice has, in his own words, been “a search to increase the amount of surface where stuff is happening - the more surface area, the more information.” His sculptures feature cavities and crevices that invite the viewer to explore internal surfaces. He merges industrial processes with natural forms, creating intricate voids reminiscent of geological formations, corals or fungal forms. Using pigmented concrete cast into moulds made using industrial margarine, Sabin sculpts from the inside out, revealing complex surfaces once the margarine is removed. His sculptures draw viewers into a dialogue between external and internal spaces, where surface and void are equally significant.
Ross Taylor’s paintings delve into surfaces through a process of layering, stripping, and reworking. His concept of emergent space blends production and consumption in a dream-like realm. Taylor’s canvases, marked by crinkles and creases from prolonged storage in the studio, transform imperfections into spectral figures. His methodical process creates a non-specific poetic language, where pigments migrate between works, linking each painting to a broader narrative. Taylor’s surfaces become rich fields of interaction and transformation.
