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
Tell me about this amazing thing about your childhood.
It's a story you've told before, but I'd like you to tell our listeners about painting out the shadows.
As you were a young child in your bedroom, you were experiencing the world and you in your imagination would paint out the shadows of objects, which seems to me to be an extraordinary sophisticated thing for a young child to do.
But tell us about it.
Yeah, you sort of painted like Raphael when you were five and you had to s to step outside of it.
Which historical artist do you turn to the most today?
It's extraordinary physicality, I suppose, which you can see very much in your work, the way that your physicality is mapped onto the work, as it were.
Yeah.
Now tell us about Munk.
You've been working in Munk's studio in Eckeley.
Yeah,
And how do you respond to Monk then through that process?
I know that the work, the sun, is important to you in terms of this body of work, but how much are you sort of thinking about his images specifically and how much are you almost thinking more about him as a painter and the kind of position of Monk in terms of his attitude to the world or his attitude to the making of art?
He has a very particular touch, doesn't he, Mook?
Again, in terms of Corinth, you know, that sort of very pronounced physicality of the paint on his surfaces.
But he's a deeply subtle artist, and we we think of him in terms of the kind of grand gestures, but there's a subtlety in his handling, which I imagine you must have responded to.
Is it right that you're making a work called Black Bed which relates to the whole series of bed works that you've made, which seem to me to be so important through your career generally?
It's really interesting that it seems to me that it contains so many of the kind of tensions which remain in your work now and which are crucial to its effects, you know, in the sense that it was an act in it in a way of total destruction.
You're looking at actually your bedroom, and you take out the spray gun and you cover your personal possessions, this bed that you clearly love by Jasper Morrison, you know.
It's a destructive act, and yet at the same time it's an imaginative act and actually.
Showing 861–880 of 1,919 · page 44 of 96
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