Benjamin Phillips, Artist in Residence at Ottawa School of Art, Multiple Arts, May 9, 2015
Video interview with sculptor Benjamin Phillips at Ottawa School of Art's artist residency.
100 Creatives: 60: Benjamin Phillips, Phoenix New Times, by Claire Lawton, July 13, 2012
Art can teach you about yourself and the world around you. Art is good for everyone, even when you don't understand it, which is difficult for a lot of people because...
Benjamin Phillips at Udinotti Gallery, Trends May/June, article by Bill Macomber, Jun 19, 2012, p.9
Should art be pretty? Let’s consider that as we look at the sculpture of Benjamin Phillips.This sculptor, who shows at Scottsdale’s Udinotti Gallery on Marshall Way, doesn’t seem that interested in …
Gross Point, Phoenix New Times, by Wynter Holden March 3, 2011
…“My inspiration for the show comes from a child’s perspective trying to understand the differences between bodies of (the) elder and children, “the artist explains, “and revisiting these emotions as I approach 40, seeing and …
Benjamin Phillips' Reflection Pool at eye lounge, Phoenix New Times, by Jessica Vanzalen, March 2, 2011
"I started considering parts, not just the whole form," he says. "Like, what does a man's chest look like as he gets older and it starts looking soft?"
The Reflecting Tool: What We See of Ourselves in the Works of Benjamin Phillips, essay by Kevin Vaughan-Brubaker, March 2, 2011
“Benjamin Phillips’ work indulges the narcissistic impulse in all humans, providing a mirror to gaze upon the self with meditative introspection. The mirror that Phillips holds up, however, shows not the beautiful or the vainglorious; rather, his sculpture becomes a tool throwing back critical reflections
The Anguish of Embodiment: Benjamin Phillips - Intaglio Prints and Sculptures in Bronze, essay by Camilla Pickard, 2007
Phillips shows the male body as a set of sagging skins, subject to aging that renders both gender and sexual potency invisible. But he also reveals it as a mask, as a site of emotive responses and sensory pleasures that the physical form gives no hint of. His works initially communicate the anguish of embodiment. After a long look, though, the bodies become caverns, imbued with all the mystery that word implies. [...]
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