Ben Luke
speaker
1,919 appearances
8 recordings
1 series
first heard Apr 2026
last heard 1 Sep
Ben Luke’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 8 in all, peaking in Aug 2026 with 3.
Appearances
One of the things I'm interested about the spray gun is that I really enjoy the fact that you like the oil spritz, which is kind of like the residue of the process, as much as the very deliberate marks you're making.
So tell us about that, about not just the very
concentrated focus on the marks, but also the kind of almost like the environment created by the spray gun as you're using it.
And speed and time are so important to all the aspects, aren't they?
And and there are various different modes of time that the work occupies, for instance, that they can be made very quickly, they can be made very slowly over a period of days, and then they can last for very short periods or forever, in theory, you know, so you have a canvas which can be taken away and be part of a museum collection, and yet you can create a work like the work that you did in Basel in twenty twenty five, which was there for seven days.
So there's all this kind of really interesting relationship with time, you know, from the very first moment you begin working on a project to the end point and then beyond.
Yeah, yeah.
Is there a sort of an essential balance then in your practice, which is the need to create works where you are absolutely out there taking risks, making work which you know is going to not survive, which will disappear, which is ephemeral, and then also making works, as you said, you know, there's this sort of important dichotomy between works made in the studio and then works outside.
Do you need that in a way?
Do you need those risks that you have to take with the larger works which will disappear in order to feed back into your studio practice?
Let's move on to the questions we ask all our guests.
Who was the first artist whose work you loved?
Was there something about that visual shock that you were talking about with your paintings that is there in Pinabausch in a way, as you experience those movements, there's a kind of violence or aggression about it, as well as the great subtleties, of course.
Was that part of it in a way, that almost visceral shock that those performances have?
Did you ever consider that choreography or dance would be the channel through which you might explore that?
Or was it always in your mind that somehow that you were going to apply this to a kind of visual phenomenon?
teaching in Disseldorf, wasn't he?
Yeah.
Yeah,
Yeah.
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