Ben Rosecrans

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spatial surgery 2.75, 2011 Mixed Media 22" X 23" (approximately) © 2011
SL 1.0, 2011 Gouache, Ink, Graphite, Vellum and Tape on Paper 7" X 10" © 2011
SL 1.50, 2011 Gouache, Ink, Vellum and Tape on Paper 7" X 10" © 2011
SL 1.75, 2011 Gouache, Ink, Vellum, Basswood and Tape on Paper 7" X 10" © 2011
SL 1.25, 2011 Gouache, Ink, Basswood, and Graphite on Paper 7" X 10" © 2011
untitled, 2010 Mixed Media on Wall 70" X 108" © 2010
intervene, 2010 Mixed Media Installation 24' X 48' X 12' © 2010
rabbit in a hat tricks, 2011 Mixed Media Installation 90" X 160" X 40" © 2011
rabbit in a hat tricks detail, 2011
prouned.2 detail, 2012 © 2012
prouned.4, 2012 Mixed Media 30X35" © 2012
archisuture.1, 2013 Gouache, Spray Paint, Ink, Thread, Wood, Paper and Vellum 22x25" © 2013
archisuture.1, 2013 Gouache, Spray Paint, Ink, Thread, Wood, Paper and Vellum 22x25" © 2013
archisuture.2, 2013 Gouache, Enamel, Ink, Thread, Paper, Tape and Vellum 14x22" © 2013
archisuture.2 detail
antihesitator.1, 2013 Mixed Media 25x34" © 2013
antihesitator.2, 2013 Mixed Media 24x37" © 2013
antihesitator.7, 2013 Tape 11x23' © 2013
prouned.11, 2015 Mixed Media 40x60" © 2015
oops i svarded.1, 2015 Mixed Media 16x20" © 2015
oops i svarded.2, 2015 Mixed Media 22.5x30" © 2015
prouned.10, 2015 Mixed Media 30x35x10" © 2015
archisuture.7, 2015 Mixed Media 10x14x36" © 2015
archisuture.5, 2015 Mixed Media 48x120x36" © 2015
gmix.2, 2015 Mixed Media 60x84x7" © 2015
falloff.1, 2015 Mixed Media 30x50x3" © 2015
untitled, 2015 Mixed Media 25x40x6" © 2015
intervene.2, 2015 Mixed Media 30x108x30" © 2015
pkd made me do it, 2016
prouned.11, 2015 Mixed Media 40x60x14" © 2015
juhks.1, 2016 Mixed Media 19x55.5x4" © 2016
intervene.2, 2015 Wood 30x108x30" © 2015
Quick Facts
Vancouver, WA
Birth year
Lives in
Sandy Hook, CT
Works in
Farmington, CT
Northern Illinois University, 2006, B.F.A. - Painting
Full Sail University, 1997, Associate of Science - 2D/3D Design/Animation
University of Wisconsin-Madison
abstract, mixed-media, installation

I create visual hybrids of drawing, painting, sculpture, and installation.  The foundation of all that I make is line. I explore the idea of a line as a representative of movement, spatial relationships, and time. The line is a direct reference to commuting in my car and the meandering quality of the viewer’s movement and mind traversing the space that I am working on or in. I use line to translate my thoughts, experiences, emotions, and sarcasm into an abstract visual language.  The language that develops weaves in and out of the ideas of mapmaking, simple color relations, geometric shapes, spatial relationships, and the implication of meaning and purpose.

Whether it is two-dimensional or three, I use it as a generative resource that informs how the piece will develop.  I enjoy the idea of a simple origin or process that can build to a complex form or stay as a simple independent interaction in space.  A single line can cut a space into parts, alter your movement, draw your attention to overlooked details, or grow into a tangle ever growing mass.  This interest in how a line can move, and more specifically how line is used to represent movement, stems from my commute during undergrad and grad school and the overall “long path” I took to get where I am today. 

I am also starting to address awkward interaction and the nonsensical object, how an object can imply function but ultimately fails or lets you down, and the theory of the five dimensional object (3 in reality – HxWxD, 1 in time, and 1 in indetermination).  These interests and my constantly evolving visual language are brought together through a mixture of intuition and planning.  By creating a layered image through drawing, painting, cutting, and constructing a sense of fragmented time and reference emerges which reveals a documentation of events.  This system of addition and reduction allows me to magnify the unexpected and build upon my mistakes or accidents.

I enjoy having a different projects going on at the same time.  This allows me to retain a high level of interest in each work and help the creative process succeed in each. My drawing process is a more intimate studio practice compared to the sculptures I make. I can sit at my drawing table and get lost in a piece, whereas the process in which I create my sculptures has me constantly moving. The images created start to question the function of the picture plane which contain both a real, observable space often made of a line intermixed with geometric and organic shapes and a more metaphorical space that makes you question the plausibility and function of other elements within the space.

The resulting images can present themselves as a specific object, I’m not interested in that; instead how see how the spatial context which they have been placed is newly ordered by their presence and how it may be more clearly experienced as a spatial structure. I also enjoy how the piece can imply a function or purpose but upon inspection do nothing.  Kind of like this statement.  

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Exhibited at these venues
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