Abigail Ogilvy Gallery is thrilled to represent the artwork of local artist, Teddy Benfield. Recently we sat down with Teddy to talk about his artwork and inspiration:
Abigail Ogilvy: How were you introduced to the arts, and how did you know you wanted to pursue it?
Image courtesy of Teddy Benfield
Teddy Benfield: I was introduced to the arts at a young age. My earliest memories were from more of an appreciation stand point. My uncle, Dennis O’Brien (1948-2021) was a lifelong artist whose illustrations are some of my first memories - a combination of looking at both his work and collection of art books. My parents also brought my brother and me to the museums of NYC on a yearly trip to visit family as we grew up in Southeastern Connecticut. It wasn’t until my sophomore year of college that I began to paint and draw with inspiration from my professor, Walter Hatke. His encouragement gave me the inspiration to start creating at a rapid pace - also maybe to make up for lost time… and furthermore, pursue an MFA and a career as an artist, which has led me to where I am today.
AOG: If you had to explain yourself in one sentence, who is Teddy Benfield?
TB: If I were to describe myself in one sentence it would include where I’m from (Mystic, CT) and where I live (Boston, MA). It would include my values of balancing hard work and passion with creativity and positivity. And it would also include that I love dogs, surfing, cooking, and the Red Sox.
AOG: You very recently earned a certificate in sneaker design from FIT, has this influenced the way you paint or make aesthetic choices across your other disciplines?
TB: The class I took has not really influenced my paintings. However, since then, I have been exploring the world of graphic design, marketing and logo design, an interest that started during the COVID-19 quarantine.
Image courtesy of Teddy Benfield
AOG: In your paintings, you have these loud, vibrant signatures on both the front and all over the backs. Tell us more about these!
TB: My signature started with my mother insisting that my brother and I sign the front of doodles that would hang on the fridge. As I began to create paintings and large bodies of work, I looked at my signature from more of a graffiti / mark-making stand point. In grad-school I was discouraged from signing my paintings on the front of the canvas, which is why the back of the canvas began to become more elaborate. Besides that I always liked how historically, artists would sign the front of the canvas, whether hidden or obvious. The element of specific mark-making is a key design element in my work so the signature on both front and back have sort of morphed into that as well- a signature of a design element.
AOG: Your photographs show these beautifully crafted, hand-made paper still lifes, often positioned as diptychs. Can you tell us more about this series and how the meaning of the still life has evolved for you?
Teddy Benfield, Untitled (New England Fishery Paper Studies / Vanitas) Clams, 2018. Photograph/Archival Inkjet Print with Handmade Paper, Acrylic Paint, House Paint, Ink, China Marker and Found Objects. 36 x 36 in.
TB: The series of hand made paper objects started in my final year of grad school. I took a papermaking class honestly as a “senior spring” credit only to fall in love with the process. I quickly realized that this process to me, felt like a 3D rendering of my usual paint on canvas process. I began to create a series based on traditional Dutch still life and Vanitas / Memento Mori details that are historically found in the still life genre. The following summer I created more in this series while on a residency at the Vermont Studio Center, focusing on the passing of time, before and after, push and pull and some of the contradicting details found within the Vanitas elements of still life work. In my photographs of summer cookouts, beer pong games and bouquets of flowers, a clear before and after shadows the traditional Vanitas meaning of life/ death in order to create a playful approach to the morose. While paying homage to the Dutch masters, these still life set ups not only contain real items (food, beer, flowers, etc…) they comment on the process of trade and consumption.
Teddy Benfield,Untitled (Wildflowers of Southeastern Connecticut 2), 2020, Signed on recto and verso. House paint, acrylic paint, oil pastel, krink ink, china marker, spray paint on canvas. 27 x 27 in.
AOG: We see a lot of motifs repeated throughout your work, such as the classic checkerboard pattern, flora, sports, and even logos. Can you tell us a bit more about what these motifs mean to you?
TB: I believe my repetitive use of motifs can be rooted in branding and marketplace culture. Growing up in the 90’s/00’s, I feel the beginning of internet culture, cartoons and skateboarding play and huge part in inspiring some of the design decisions I make today. I have always had an appreciation for logos and branding which stem from growing up around skateboard culture and as a lifelong sports fan, logos and branding enter my work that way as well. As these have developed and taken on my own style I believe the checkerboard specifically has taken on its own form from a combination of skateboarding and the Americana American diner / kitchen floor.
AOG: Do you have any advice for future artists?
TB: My advice to future artists would be set goals for yourself both daily and long term in all aspects of life. I believe that a good way of marking personal success is through a combination of balance and achieving the things you set out for yourself. I try to give myself timelines and checklists in order to push myself and with that allow goals and challenges to overlap. A characteristic that I think is essential to success as an artist is self-determination. To me, nothing can be achieved to its fullest until you believe in yourself and what you are doing no matter the magnitude
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