‘This work is displayed on a purpose built chipboard wall; a small electro magnet is hidden behind the wall's white painted surface. A dressmaker's pin is held perpendicular to the wall's surface by the magnetic field, and there is no visible means of support. The sculptures strive in a minimalist manner to undermine tiny aspects of our status quo, not for any sinister purpose, but simply because they can. (…) My sculptures are about as low tech as you can get, experimental quasi-scientific constructions where ultimately the changes and effects of the magnets are only discernable to the viewer through the interpretive medium of the compass or the pin.’

[LESS]
‘This work is displayed on a purpose built chipboard wall; a small electro magnet is hidden behind the wall's white painted surface. A dressmaker's pin is held perpendicular to the wall's surface by the magnetic field, and there is no visible means of support. The sculptures strive in a minimalist manner to undermine tiny aspects of our status quo, not for any sinister purpose, but simply because they can. (…) My sculptures are about as low tech as you can get, experimental quasi-scientific constructions where ultimately the changes and effects of the magnets are only discernable to the viewer through the interpretive medium of the compass or the pin.’

‘I like the tinkering, the pottering, homemade, low tech, man in garage, romantic quality of Ben Woodenson’s engagement with the process of making large magnets. The low-tech magnets incorporate both phenomenological and practical exploration. Rediscovering the work through schoolbook science is extended to the gallery space where metaphors of mapping and exploration continue as the magnet literally shifts the axis of the gallery, perceivable only with a compass’

[LESS]
‘I like the tinkering, the pottering, homemade, low tech, man in garage, romantic quality of Ben Woodenson’s engagement with the process of making large magnets. The low-tech magnets incorporate both phenomenological and practical exploration. Rediscovering the work through schoolbook science is extended to the gallery space where metaphors of mapping and exploration continue as the magnet literally shifts the axis of the gallery, perceivable only with a compass’