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Photography (MA)

Benjamin Bird

 Benjamin Bird is an English artist, based in London and the south east of England, working within an expanded field of photography incorporating amongst other methods, sculpture and text.

His practice investigates the built environment, its relationships to interlinked  ideas of history, politics, and our relationship to these structures and the spaces they are located in.

Bird holds a BA (hons) from the University for the Creative Arts, Rochester and, is completing his Masters at the Royal College of Art. His work has been exhibited in the UK, and internationally including Italy, Austria the Netherlands, and most recently at Copeland Gallery, London.

Benjamin is also a trustee of the Rebecca Vassie Trust, a charitable organisation supporting the art of long-form narrative photography.

Recent artworks, produced on the MA, look at how we think about, and develop relationships with buildings before they exist, focusing on shifting sites of construction. With these areas of flux, in the forming of structures, there are existing potential gaps such spaces might offer us to probe, finding somthing new.

This fascination in construction has extended into imagery used in architectureand its use to proposes structures before being completed, yet, it is a resolved vision, certain in its final form and unchanging, often expressed in computer rendered images.

This speculative CGI suggest idelised spaces showing the future in the present, yet often act as a tool of commodity, playing with expectations, in the surroundings of Londons gentrifed landscape, jarring with wider social concerns around housing. My practice attempts to not only question such images' intended associations but look at methods and spaces of this creation and its visual consumption.

This dichotomy and frictions in such utopic architecture envisioning, has led to creating pieces that reference both photography, and construction. Forms emerging into architectural space, offering a fluid possibility, and a tactility. Such works are fragile yet messy, hard to define but solid, still and active. The resulting artworks sit somewhere between the image and sculpture, in an attempt to bring another way to visualising the new or unfinished building, one that is a counterpoint to the formulaic language of the render. 

The use of materials and their limits have informed my work during the program. I wanted to create a more physical relationship both in the creation of works and our relationship to thephotographic,  by seeing the image  as object, expanding from a two dimensional object and removing it from the wall.  In liberating such images from intended use,  often a shimmering digital surface into a tactile one, it shares the same space as us, allowing for a relationship to be formed with it, for it to be interrogation and have a  presence in the here and now.

Image Credit: Melanie Issaka



C -Type Print


50.8 x 60.96 cm



C-Type Print


50.8 x 76.2cm
Day 1 of exspoure
Day 3 of exposure, with the effect of the light reaction visible, the light mark unexposed
Day 4 of exposure

An unfixed photographic sculpture installation, exhibited and exposed for 5 days.

This allowed the work to change over time its surface reacting to the light inside the gallery.


Sculpture, Cyanotype



A playful thought on the impossibility of colour, and description.

Hand printed, Edition of 35.



Letterpress postcard


14.2 x 10 cm
Surface Tension I
Surface Tension II

2019 - 2020


Gelatin silver print