Lost in the Woods/ Getting Better

Vane Gallery, Newcastle
9 October - 12 December 2015

The work of Ben Applegarth in ‘Lost In The Woods/Getting Better’ is concerned with evolving geometrical structures, a fascination with mathematical patterns and the literal and figurative role of perspective. The sculptures are constructed to be looked at from various positions, their designs reminiscent of cognitive illusions; inferring shapes, curves and other false perceptions from the repetition of straight lines. Diverge/Converge (Hibari) contains an example of the ‘Hering Illusion’ – named after its discoverer, German physiologist Ewald Hering – where two straight and parallel lines are viewed in front of a radial pattern (like the spokes of a bicycle), the two lines then appearing as if they were bowed outwards. The works’ titles come from a literal interpretation of composition and include references to musical pieces that are of personal significance to the artist.

Applegarth is interested in the rigour of the methods used to create a piece of work: the progression from experiment to elaborate construction, and of working on a material to a high level of finish. He is creating an ongoing series of works consisting of geometric shapes and Platonic solids – three-dimensional, complex, regular polygonal forms named after the Greek philosopher Plato – using the selective repetition of lines to create the complex sculptures.

BIOGRAPHY:

Ben Applegarth was born in County Durham, in 1990, and lives in Newcastle upon Tyne. He studied BA Fine Art at Newcastle University 2008-12. He has exhibited nationally in group and solo exhibitions and was longlisted for the Aesthetica Art Prize in 2013.

FIRST PERSON DRAWING STATEMENT:

The designs of the works all begin as small sketches that have the main impression of what I want the final sculpture to achieve, after a gestation period I commit the designs to a vector drawing that is to scale with fine details worked out. The wooden components are typically a frame for the drawings, the thread is the drawing itself and the Plexiglass is both a boundary and container to assist the transition to three-dimensionality.

You can find out more about the exhibition and venue by visiting Vane’s website

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