Hoek Van Holland 15.58 Rotterdam 16.24

Artist

Year

Ben McLaughlin

2024

Dimensions

Medium

40 x 30 cm

Oil on board


“These figures look like Queen Elizabeth and her husband – they are not! They are tiny figures on a 1950s postcard. 

I love anonymous figures in pictures on old postcards. I isolated them from their original, rather dull surroundings and put them in an invented a garden somewhere sunny - a bit like taking them on holiday. Very much the tradition of figures in a landscape, it feels like a rather sweet picture, but I am always conscious (regarding images of people in the mid twentieth century) of their recent history - what happened to them in the last few years? What have they seen? Sometimes, what on earth have they done?”

About the artwork



About the artist

Ben McLaughlin

Ben McLaughlin (London, 1969) completed his Bachelor of Fine Arts at Central St. Martin's School of Art in 1993, followed by a Masters in Printmaking at Camberwell College of Art. In 1992, he won first prize at the Falkiners Fine Paper Young Artists Award, the Cohn & Wolfe Young Artist Competition in London, and the Cecil Collins Memorial Award for Drawing, also in London. In 1994 and 1996, Ben received first prize for the Médaille d'Honneur de la Ville de Salies-de-Béarn in France. In 2005, he was awarded a prestigious artist residency at the Joseph and Anni Albers Foundation in Connecticut, United States. Ben's work has been exhibited throughout Europe and the United States.

His paintings are imbued with nostalgia, intimacy, and emotion, shaped by a wide range of influences and complex iconography drawn from film, photography, and literature.His compositions appear fragmented through cropping and the choice of surprising viewpoints. His enchanting, poetic work is indebted to artists such as Hopper, Whistler, and Winslow Homer. The paintings embody the perfection of imperfection; atypically composed panels, sometimes an expression of an incomplete memory. Images that are often typical of a specific generation or a moment in time. The titles of the works themselves are often borrowed from newspapers, radio, crossword puzzles, and other surprising sources. Unexpected and sometimes comical, these references give the panels a mysterious twist. Something Ben himself likes to call a sense of 'disconnect'.