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There's a tiny little ben who never would believe that these are words I'd get to say one day;

starting today, I am a PhD candidate!!!

My research will explore designing objects embedded with an emotional durability - long-lasting not for indestructible materiality, but because they mean something to us, as holders of stories written through use, things we refuse to let become waste or forgotten, perhaps even extending their life through acts of repair or upkeep.

I look back at that little ben who "wanted to be an inventor" when he grew up ~ head forever in the clouds or between the pages of a book, and I realise really not much at all has changed. Feels like I've worked my whole life to find this path, and I couldn't be more grateful to be at the beginning of something so big and SO EXCITING!!!

There's a tiny little ben who never would believe that these are words I'd get to say one day;

starting today, I am a PhD candidate!!!

My research will explore designing objects embedded with an emotional durability - long-lasting not for indestructible materiality, but because they mean something to us, as holders of stories written through use, things we refuse to let become waste or forgotten, perhaps even extending their life through acts of repair or upkeep.

I look back at that little ben who "wanted to be an inventor" when he grew up ~ head forever in the clouds or between the pages of a book, and I realise really not much at all has changed. Feels like I've worked my whole life to find this path, and I couldn't be more grateful to be at the beginning of something so big and SO EXCITING!!!

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

This is my chair, 'Björk'. She is a c.1960s original Swedish chair that I found in a hard-rubbish collection pile across the world in Sydney's East, in desperate need of some tenderness.

I repaired her this summer at a time that my hands felt like they needed to be busy and my mind needed to be anywhere but behind a screen. She is special to me because of this process of repair; not because she is rare or worth any real money.

Björk taught me all kinds of things about furniture design in that era, shared stories to me discovered on stickers & marks made across decades of use, and humbled me repeatedly through the processes of reassembly (number your parts!).

Sometimes I think of repair work as a little act of resistance against a world that would rather you throw away and buy new. The simple act of searching for repair info and tutorials littered my browser with ads for similar copycat chairs for weeks, an algorithmic reminder of how subtle (or not-so-subtle) these pervasive forces are that attempt to compel our actions.

Björk now lives in my studio, as a reminder of what repair represents to me. She also makes for a great backpack on bicycle (last pic).

[IRON] INTERTWINED is a video work which began development during my time undertaking the @creatensw NSW Design Fellowship (Early-Career).

This clip is the finale (part 4 of 4), translating its ultrawide three-channel format into something to be enjoyed (with sound!) on your phone screen.

This visual story documents the research, concept and thinking behind ‘[OBJECTS] INTERTWINED’ (2024): a research-led exploration of the design history of domestic appliances and a critique of the various design factors resulting in our current predicament: an oversaturated global market of manufactured goods with diminished longevity, swiftly arriving in landfills, often still functioning and full of valuable materials.

Its making involved studying & visiting the Powerhouse Collection to learn from these historical objects and products up close, the reading & scanning of thousands of pages of Australian department store sales catalogues dated from 1949-1990 ; observing sales-language and social expectations shift with technological and design innovations, and the sourcing of archival footage and imagery of the manufacture and use of irons in Australia and beyond.

In response, a series of speculative iron concepts were proposed exploring the possibilities afforded when casings and fasteners are designed with intention to invite curiosity and interaction beyond the object’s outer skin.

Directed by Alice Adlide / @aadlide , now with accompanying sound design and composition by Jason Styles / @jasonstyless this video work is finally complete.

Full film and credits available via youtube link in bio.

With thanks to both @utsfds and @powerhousemuseum for providing the generous support to make this project possible.

[IRON] INTERTWINED is a video work which began development during my time undertaking the @creatensw NSW Design Fellowship (Early-Career).

This clip is part 3 of 4, translating its ultrawide three-channel format into something to be enjoyed (with sound!) on your phone screen.

This visual story documents the research, concept and thinking behind ‘[OBJECTS] INTERTWINED’ (2024): a research-led exploration of the design history of domestic appliances and a critique of the various design factors resulting in our current predicament: an oversaturated global market of manufactured goods with diminished longevity, swiftly arriving in landfills, often still functioning and full of valuable materials.

Its making involved studying & visiting the Powerhouse Collection to learn from these historical objects and products up close, the reading & scanning of thousands of pages of Australian department store sales catalogues dated from 1949-1990 ; observing sales-language and social expectations shift with technological and design innovations, and the sourcing of archival footage and imagery of the manufacture and use of irons in Australia and beyond.

In response, a series of speculative iron concepts were proposed exploring the possibilities afforded when casings and fasteners are designed with intention to invite curiosity and interaction beyond the object’s outer skin.

Directed by Alice Adlide / @aadlide , now with accompanying sound design and composition by Jason Styles / @jasonstyless this video work is finally complete.

Full film and credits available via youtube link in bio.

With thanks to both @utsfds and @powerhousemuseum for providing the generous support to make this project possible.

[IRON] INTERTWINED is a video work which began development during my time undertaking the @creatensw NSW Design Fellowship (Early-Career).

This clip is part 2 of 4, translating its ultrawide three-channel format into something to be enjoyed (with sound!) on your phone screen.

This visual story documents the research, concept and thinking behind ‘[OBJECTS] INTERTWINED’ (2024): a research-led exploration of the design history of domestic appliances and a critique of the various design factors resulting in our current predicament: an oversaturated global market of manufactured goods with diminished longevity, swiftly arriving in landfills, often still functioning and full of valuable materials.

Its making involved studying & visiting the Powerhouse Collection to learn from these historical objects and products up close, the reading & scanning of thousands of pages of Australian department store sales catalogues dated from 1949-1990 ; observing sales-language and social expectations shift with technological and design innovations, and the sourcing of archival footage and imagery of the manufacture and use of irons in Australia and beyond.

In response, a series of speculative iron concepts were proposed exploring the possibilities afforded when casings and fasteners are designed with intention to invite curiosity and interaction beyond the object’s outer skin.

Directed by Alice Adlide / @aadlide , now with accompanying sound design and composition by Jason Styles / @jasonstyless this video work is finally complete.

Full film and credits available via youtube link in bio.

With thanks to both @utsfds and @powerhousemuseum for providing the generous support to make this project possible.

#design #productdesign #sustainabledesign #designhistory

[IRON] INTERTWINED is a video work which began development during my time undertaking the @creatensw NSW Design Fellowship (Early-Career).

This clip is part 1 of 4, translating its ultrawide three-channel format into something to be enjoyed (with sound!) on your phone screen.

This visual story documents the research, concept and thinking behind ‘[OBJECTS] INTERTWINED’ (2024): a research-led exploration of the design history of domestic appliances and a critique of the various design factors resulting in our current predicament: an oversaturated global market of manufactured goods with diminished longevity, swiftly arriving in landfills, often still functioning and full of valuable materials.

Its making involved studying & visiting the Powerhouse Collection to learn from these historical objects and products up close, the reading & scanning of thousands of pages of Australian department store sales catalogues dated from 1949-1990 ; observing sales-language and social expectations shift with technological and design innovations, and the sourcing of archival footage and imagery of the manufacture and use of irons in Australia and beyond.

In response, a series of speculative iron concepts were proposed exploring the possibilities afforded when casings and fasteners are designed with intention to invite curiosity and interaction beyond the object’s outer skin.

Directed by Alice Adlide / @aadlide , now with accompanying sound design and composition by Jason Styles / @jasonstyless this video work is finally complete.

Full film and credits available via youtube link in bio.

With thanks to both @utsfds and @powerhousemuseum for providing the generous support to make this project possible.

#design #productdesign #sustainabledesign #designhistory

Another moody film shot I captured of Caustara at 100 LIGHTS earlier this year.

A collaboration with @studiobenstyles
Exhibition by @friends.associates
#mdw25

"Eternally yours, - Frida to Diego" 2025. imprint on found object.

~ an excerpt from a letter between souls intertwined. best noticed with a close, curious gaze.

Exhibited as part of my body of work [OBJECTS]_II , in "The Cranny" at Airspace Projects.

"Eternally yours, - Frida to Diego" 2025. imprint on found object.

~ an excerpt from a letter between souls intertwined. best noticed with a close, curious gaze.

Exhibited as part of my body of work [OBJECTS]_II , in "The Cranny" at Airspace Projects.

[OBJECTS] IINTERTWINED

exhibiting November 7th - 22nd at @airspaceprojects on Gadigal and Wangal land,
Marrickville.

“[OBJECTS] IINTERTWINED is exhibited in its second iteration, exploring the obscured systems and structures contributing to electronic-waste: now our world’s fastest growing waste-stream.

This body of work invites you to question our capacity for care towards the most ubiquitous and mundane objects of daily ritual, which once expired of usefulness, become our physical and material footprints on our Earth’s precious soil.”

Opening: 6-8pm Friday 7th Nov
Artist Talks: Saturday November 22nd Nov

This video work was made possible with the generous support of @utsdab and the @powerhousemuseum

I also extend my gratitude to our director~extaordinaire @aadlide & our entire crew. Full credits available online.

Announcing my final exhibition for 2025 ~
‘ [OBJECTS] IINTERTWINED ‘ • AKA [OBJECTS] II

All are warmly invited to opening night
Friday November 7th • at Airspace Projects
Marrickville • Gadigal Land

The evolution of its first iteration in 2024, [OBJECTS] II will feature a body of work building upon core concepts with new collaborations and pieces developed over the past 12 months.

Hope to see you there!

recent commission to design custom shelving, hardware & casing to house an Ai Wei Wei limited edition.

“A study of perspective in glass” [2018-19] _ Ai Wei Wei

recent commission to design custom shelving, hardware & casing to house an Ai Wei Wei limited edition.

“A study of perspective in glass” [2018-19] _ Ai Wei Wei

recent commission to design custom shelving, hardware & casing to house an Ai Wei Wei limited edition.

“A study of perspective in glass” [2018-19] _ Ai Wei Wei

recent commission to design custom shelving, hardware & casing to house an Ai Wei Wei limited edition.

“A study of perspective in glass” [2018-19] _ Ai Wei Wei

recent commission to design custom shelving, hardware & casing to house an Ai Wei Wei limited edition.

“A study of perspective in glass” [2018-19] _ Ai Wei Wei

Howdy everyone! Ben here ~ all manner of excited to share that my Powerhouse Creative Residency will continue another year from 2025-2026 !

A new chapter begins as I move into a new studio space, still here on Gadigal Country at @powerhousemuseum Ultimo - but for the first time as a solo-space to accomodate this wildly expanding practice of mine.

The past 12 months have been a blur ~ it’s crazy to think that this time last year I was frantically finalising [OBJECTS] INTERTWINED with barely enough room to consider what would be next.

It takes a village to keep this operation afloat, and I have been held dear by so many people through this incredible time. A deep & very heartfelt thank you to my family, my amazing friends (especially you Kim!), my relentlessly supportive & loving housemates, and my wonderful colleagues in research and the broader design community.

this photo captured by @jasonstyless , whose careful eyes have witnessed me through every chapter of life to date.

💜