2018 was a massive year for me, I’ve been incredibly lucky to have been involved in some amazing projects, so I thought I’d compile a little list of highlights and thanks. It was a VERY busy year, and as such there is a lot to cover; inevitably I am going to miss some stuff accidentally, and if I do miss you our I’m sorry, I’ll update the list as and when. That’s also the reason I am so late to the party in posting this.
One of the biggest highlights of the year was my solo show Lavish Entropy with Delphian Gallery in the summer, which was a lot of fun being able to host my own show at my gallery – possibly the biggest thanks of all to my business partner Nick JS Thompson.
Lavish Entropy at Delphian Gallery
I have been hired as an associate lecturer at University of the Arts London, which I’m super happy about. I have a deep love of learning (I wish I did whilst I was actually at uni though), and I love being in such a buzzing hub of creativity – thanks to my new boss Charley Peters for this.
I have exhibited at The Saatchi Gallery three times this year, the latter of the three shows being one in which I had a lot of wall space to myself to do what I like with, and so felt like a mini solo show. Thanks to all at the Saatchi for this.
At my solo show, I also released my first play Flowering Desolation, which is written entirely using single sentences harvested from over 80 sources of classic literature. It is available to download for free HERE. Thanks to Kenton Thomas for all your help with formatting it, and being the first to read it and give me feedback.
For my solo show catalogue I asked one of my all time favourite artists Andrew Salgado to write a little something. I was blown away by the response, which was a 1000 word essay, and summed me up better than I ever could have done myself.
The gallery I co-own Delphian Gallery has really taken off, and I’m super happy to have been included in such a great project. We launched a little over a year ago, and am already exhibiting some of my favourite contemporary artists. These include solo shows with Jordy Kerwick, Florence Hutchings, and Carson Lancaster – HUGE thanks to them.
Also a big thanks to Stuart Waplington and all at theprintspace for allowing us to do some shows in their space, and helping out with everything.
The Delphian Open Call was incredible, receiving over 8,000 submissions which was CRAZY. The overall winner was Florence Hutchings, and the other winners included Igor Moritz, Geoffrey Bohm, Jonathan Edelhuber, Bertrand Fournier, Ellie Geary, Philip Gerald, Rosie Gilligan, Klaus Is Coming, and loads more – thank you all.
This December I have another exhibition at The Saatchi Gallery, which will be my fourth there overall, and my third this year.
For this show, I am taking over two walls in their Prints & Editions gallery and taping all over the walls before hanging artworks on top. I will also present some of my ceramic sculptures there for the first time.
Below are some of the works I have created for the show.
The first piece is this Matisse-inspired work, the pose for which is taken from Matisse’s Blue Nude. (Below)
Blue Nude – Matisse
This is the first time I’ve had a model recreate a pose from an existing artwork, which made the whole thing loads easier to draw. I definitely plan on doing more of these portraits inspired by the greats, so if you have any suggestions please let me know.
As well as this piece, another new work for the show is this three-layered tape drawing below. I don’t have a title for this one yet, so let me know if you have any ideas for what I should call it.
Untitled Still Life
This still life is a three-layered work, so the foreground flowers were done on one layer of glass, the vase and mid-level flowers on another, and the background on a third. Once I’ve done the tape drawing on the glass I encase the whole thing in a clear resin (just to preserve the tape), and paint white anything within the boundaries of what I want to be opaque, so you can’t see the middle layer through the flowers on the first layer etc.
The little bust you can see is a portrait of Leo Tolstoy, just because he is great.
For more of my works at the Saatchi Gallery, go HERE
And to see how I plan to tape up the walls, go HERE
And for the Saatchi Gallery’s official website, go HERE
I was recently invited to take part in the annual JNY project, in which 30 artists each released a print which was printed by Jealous Gallery. Each was an edition of 36, and mine was a three-layer screen print of one of my most popular works to date, Ophelia. The original was inspired by the character of the same name from William Shakespeare’s Hamlet, and is an A4 black electrical tape painting on glass, which I then encased in resin and framed. It was shown at my fifth solo show Lavish Entropy with Delphian Gallery in July.
I absolutely LOVE how they printed these, with a subtle grey layer to delineate the shadows under where the tape is on the original, and a gloss white layer on the flowers. I was very happy to have been invited to take part in this project again, as I had such great feedback about my print from the project a few years ago.
After shows in both Jealous galleries, these prints went on to be exhibited for a whole month at The Saatchi Gallery, in their Prints & Originals room. It was incredible to show at the Saatchi again, as it’s one of my favourite London Galleries. They also shared my piece on their Instagram account and in their mailinglist, which was flattering.
I have held back a batch of these prints and will be making them available for sale just before Christmas. Email firstname.lastname@example.org to add yourself to the waiting list if you would like one.
Big thanks to Dario, Louise, Nick, as well as Paul at The Saatchi for making this happen again.
I have just realised that I never posted photos of my last solo show Lavish Entropy with Delphian Gallery, so here they are below.
I’d like to take this opportunity to thank my fellow Delphian Gallery team for everything. Andrew Salgado for writing the amazing catalogue text. Old Blue Last Beer for supplying the drinks for the opening party. And everyone else who visited, bought works, or blogged about the show.
Hector Campbell (HC): Delphian Gallery has existed in one manifestation or another since 2013’s ‘Group Collective are Kunsts’ exhibition, could you explain how the gallery first came about? And how it has subsequently evolved into its current model?
Benjamin Murphy (BM): My co-director (photographer Nick JS Thompson) and I have been working together for a number of years after we met when he wrote an article about me in a magazine he used to manage. I went on to write for the magazine, and we both started co-curating one another’s shows. We both developed a deep love of, and interest in, the art of curation, and so decided to curate our first show in my old studio. It has been a real labour of love for us, which has built gradually into what Delphian is now – a peripatetic style gallery that takes the championing of exciting, emerging art as its key aim.
HC: Delphian, meaning ‘Obscurely Prophetic,’ derives from the Greek mythological oracle at Delphi. What was the rationale behind choosing ‘Delphian’, and how does it’s meaning underpin the gallery’s vision?
BM: Well firstly, we wanted something that was Googleable, as well as something less vapid than just both of our surnames. We decided upon Delphian because it is vague enough to not be too constrictive in what we can show, as well as being something with its own character. “Obscurely Prophetic” is, in a concise two-word phrase, one which we believe all the best art accomplishes. We believe that the most successful and thought-provoking work is informative, but in a non-didactic way.
HC: As an artist-run gallery, what advantages or insights does this offer you, as opposed to more traditional gallerist or art dealers?
BM: I think we understand the position of the artist more than a lot of gallerists or curators do, as we are both artists in our own right. This gives us a unique insight into both sides of the coin in terms of how a show is put together and run, from the artwork production point, up until the curation of a show and the sale of an artwork.
As well as this, we try to curate cohesive shows that could be read as a single artwork in their own right. The way we curate is quite experimental, as we believe there is nothing less interesting (or damaging to the artworks themselves), as a show in which all of the artworks are hung at eye-level around the gallery. These types of shows often encourage people to stand in the middle of the room and just rotate themselves 360 degrees, they leave feeling like they have seen all of the artworks – when of course they often haven’t. We want to curate shows that are essentially immersive artworks in themselves, that are ethereal and only exist in the moment, until the heterogeneous works are divided up again and are either sold or sent back to the artists. We believe that curation is an art form in itself, and it is this philosophy which guides how we curate.
BM: We try to show a diverse range of works that are entirely unique, whilst highlighting possible underlying connections or similarities, as well as playing with ways in which differing styles contrast. We spend a lot of time going to shows, as well as countless hours on social media, scrolling through things like Instagram looking for new talent. We also run a separate Instagram account called @Daily_Contemporary_Art, which is great for discovering new artists. Every week a new artist has control of the account and shares their favourite living artists, and we find that it is often the student artists that share the most exciting work.
HC: You also had your most recent solo exhibition, Lavish Entropy, at the gallery earlier this year. How did this experience compare to your previous shows, acting as not only the artist but also the gallerist/curator?
BM: It was great, I often take a quite hands-on approach to the curation of my own shows anyway (often aided by Nick), so in that sense, this was no different. I’d recommend every artist do this at least once in your career, as when you have full creative control over something you can be as wild and as experimental as you like without anyone trying to curtail your vision. Don’t get me wrong – the curatorial teams at galleries are often incredibly helpful and teach me things about my own work that I wouldn’t have realised otherwise, but it can be incredibly freeing having absolutely no constraints sometimes. This kind of thing is great, and you are able to take bigger risks than usual, and this teaches you what does and doesn’t work in a way that you wouldn’t have been able to see without this freedom.
HC: This year the gallery ran your inaugural Open Call submission exhibition, why did you want to undertake this competition? And what did you learn from this first iteration?
BM: It was so great, and through it we discovered so much great art we wouldn’t have done if it weren’t for the open call. We wanted to make it as easy as possible to submit, so as to get the most submissions possible. We didn’t charge for entry, and our good friends at theprintspace printed and mounted it all for us, so there was no cost to the artists. This also meant that, as the artists only had to send us a jpeg, artists from all over the world could submit and not have to worry about shipping or insuring their work. We received over 8000 submissions in total and were awestruck by the diversity of it. There are many artists who we would have loved to have included but couldn’t because of size and space constraints. As well as Florence Hutchings, another of our favourite artists Bertrand Fournier entered, whom we hope to present a solo show with next year.
HC: For your latest exhibition, Florence Hutchings, who won the aforementioned Open Call competition, presents her debut solo show, Seating Arrangements. How important is it for you to champion young artists such as Florence?
Florence Hutchings – Secular Throne
BM: Florence is great, she has done so incredibly well at such a young age and yet still doesn’t really seem phased by it all. She is very down-to-earth, which is nice to see from someone who is already reaching levels of success that most artists can only dream of.
We aim to discover and support young, emerging artists because we feel this is where the most exciting and unique work is coming from. We are in a position to be able to help out the careers of these young artists like people did for us when we first started showing, so it is incredibly rewarding in that respect.
We get to nurture this often raw and unbridled talent early on in an artist’s career, and look forward to the time when artists like Florence outgrow us and sign with Gagosian – for it will happen, especially in her case.
To see the whole thing on Arrested Motion, click this LINK.
My second exhibition of the year at The Saatchi Gallery was the Cash Is King show, in which all of the artists drew on to existing currency. the show finished at the end of September, and I will be back there for another show in early December.
My last show was as part of Jealous Needs You, which was the one directly before this one.
On the 18th of October I will be doing this masterclass at West London Art Factory, I rarely do this kind of thing (in fact this is the first one open to the public that I have ever done), so if you’d like to attend please get tickets via the link at the bottom of the page.
I will begin with a short talk, and then will take you through the process of how I make my works, by showing and explaining, and then you will be free to create your own. I will be around to mentor you as you create the works, and all materials will be provided, as well as refreshments.
West London Art Factory invites you to spend an evening with accredited artist Benjamin Murphy, learning to create your own artwork using electrical tape alone. This unique medium is one that makes Benjamin’s work instantly recognisable, as well as its monochromatic themes and figurative subjects. The masterclass offers you an opportunity to watch Benjamin’s process of creating his work and learn these techniques first hand, working with Benjamin to create your own unique piece. The class will begin with a welcome, followed by a demonstration by Benjamin then an opportunity for you to create your own work, guided by Benjamin, using a number of colours and tapes available, on an A3 perspex sheet. The result will be an original piece of art for you to take home. No prior experience is needed, all levels are welcome and all material is provided. Drinks and refreshments will be available.
Please note, this class has limited spaces so be sure to secure your place!!
During the workshop, you’ll learn to make works like these.