Ben Giles (b.1992.Uk)

 Instagram, Etsy

 Facebook,, Society 6, Flickr

“I found myself suddenly neighbour to the birds; not by having imprisoned one, but having caged myself near them ” - Henry David Thoreau

Nature, metamorphosis, light, colour, collage,collaboration, juxtaposition, repetition, excitement, evolution, manipulation,music, television, improvisation, participation and seduction are all components in my practice.


Kingston University, 2012 - 2015 - BA Fine Art

West Suffolk College - Btech, Art and Design

Commissions and Clients include

New York Times Magazine, Wall Street Journal, Winc Journal, Honey Mi Honey, Bodega - Nottingham, 55DSL, Conde Nast Traveller, Princeton Architectural Press, Mystery Jets, Riverhead Books, Front MagazineFish Tank, Spirograph Records, Shoes and Socks Off, Holiday Magazine

 Selected Publications


  • New York Times
  • Wall Street Journal
  • Winc Journal
  • Honey Mi Honey
  • Paris Review
  • Conde Nast Traveller
  • Society6 Quarterly 2016
  • Rookie, Yearbook Two
  • Flaunt Mag "Fabrication Issue"
  • Holiday Mag "Scottish Issue"
  • Wild Mag "Bestiary"
  • Visual Interview for Wild Mag "Animal Issue"
  • Visual Interview  for Mash Magazine
  • Yen mag "Creative Issue " Front page.
  • Yen Mag "Adventure Issue"
  • Sleek "Autumn 2013"
  • Avec Mag "Issue 1"
  • East Anglian Daily Times
  • Front Magazine "Issue 170"
  • 22 Mag "Volume 4, 2014"
  • IP1 "issue 43" Front Page
  • In Parenthesis "Issue 1, Volume 3"

Online ;

No Culture Icons, Fecal Face, First Line Mag, Moustache Mag, SYN, Jung Katz Blog, Baiser Mag, NSMBL, Artnau, Weird Show, Uppercase, Honestly WTF, Miss Moss, Get Inspired, New York Magazine, Saccades Project, U+Mag, Quiet Lunch, Portable TV, Cake , Atlas Magazine


  • Studio Dagda with Elle Hardwick
  • Rookie Mag with Elle Hardwick
  • Kneon Magazine with Rebekah Campbell
  • Yen Magazine with Rebekah Campbell
  • Line a Journal with Rebekah Campell
  • Cake with Leanne Surfleet
  • Kneon Magazine with Leanne Surfleet
  • Matters with Miriam Waldner
  • Kneon Magazine with Ana Mercedes

Full Artist Statement

We use, destroy, consume, tame, trim, garden, manipulate, place, deforest, witness and take nature for granted, yet are reliant on it to breathe, provide food, build homes and create our many products and needs. It seems its only okay on our terms. 

By creating environments and using natural and manmade materials i want to explore our relationship to nature as well as natures reactionary ability to manmade environments, how it evolves, changes and can be manipulated against its will and to our needs. Im exploring installations and sculptures as a way of showing the almost grotesque way natural things alter in alien environments, whether it changes, withers and dies, or changes, evolves and thrives. Im interested If it excels its original form, becomes an alien to us as it is to its new environment or if it succeeds as it is, simply displaced in location and time. 

I particularly love using sickly sweet materials, such as sugar icing and chocolate to highlight the materials changes in it new environments as well as the changes over time, how something inviting and exciting to eat and touch can become disgusting and crumble into nothing. How the success of an environments existence and the piece of work is measured by how quickly it is destroyed and consumed. 

Im also exploring how our cheap representations of nature, in books or objects, adapt to fulfil natures purpose their represented as. How representative imagery can stand in as the thing it  imitates, whether manmade materials can trick us into recognising the thing it pretends to be and how it makes us feel to be manipulated and tricked. Ive been "releasing" materials back into the wild, using objects originally sourced from natural materials to imitate natural materials. An almost life cycle, allowing objects denied its existence as nature to return to nature, Such as cut out butterflies from books or flora imagery. 

The space each work exists within is extremely important in the contribution of creating an environment for people to inhabit. People should feel the work with their feet and hands not just their eyes as they explore the new wolds, false representations and interactive and sickly sweet sculptures. I love creating exciting, playful and childish experiences. Yet ones that are subtly disgusting or unnerving as people spend longer there. People should question the materiality or each object, its purpose and be excited by what they find. They should be overwhelmed and excited in the new surroundings  and objects displayed around them, I want the senses to be tested and tricked and manipulated. In doing this the audience becomes the last key component to the existence of my work, at each moment they are the work. I want them to remember an experience, not something they looked at. 

Using Format