Benet Spencers current practice concerns architecture as an emblematic form, with paintings evolving out of various stages of production preparatory drawing and the collection of photographs, the transformation of images into fictitious collaged spaces, and the resulting canvases, which are usually large scale and evolve in multiple layers towards a completed form.
Within his most recent work, the titles in numbered lists reflect a basic categorisation by subject the city, the house, the church, the faculty, the stadium and within these, a series of paintings, digital prints and collages are developed. Whilst functioning within a closed system as a taxonomy of urban and architectural subjects, the paintings are allowed to adopt varying forms, both in terms of the degree of illusionism and the nature of objects described, but also spatially, where the architectural form is rendered inert through the contrasting use of flatness, decorative surface or perspective.
Forms extracted from photos of modern sculpture are the most recent addition to this lexicon of images, with their social and cultural significance explored through reduction to an oblique architectonic form, placed within an ambiguous space made up of several contrasting layers.
Colour registration is a primary concern, along with the language and process of painting, and how architectural language can be utilised within painting and drawing as part of a methodology for representing form and space. The varied densities of painted surface evolve as part of several discrete processes, and through this interest in facture, the resulting work addresses questions around what a painting is, as much as how a subject can be described.