Distorted Figures and the Human Experience with Contemporary Artist Benjamin McDonald
- 3 days ago
- 5 min read
Blending elements of figurative painting, surrealist influence, and expressive mark-making, the work of contemporary artist Benjamin McDonald creates psychological landscapes that feel both intimate and universal. Through fluid forms, multi-handed figures, and carefully constructed scenes, McDonald explores the space between discomfort and beauty, offering a nuanced perspective on the human experience.
In this interview, we take a closer look at his practice, where distorted human figures, symbolic gestures, and immersive compositions reflect themes of anxiety, isolation, and connection.
Photo credit | Adam Kenna
Q: Let’s start off with a fun icebreaker: If the emotions in your work formed a band, which one would insist on a dramatic solo even though no one asked for it, and why.
A: That is fun. Let’s see… For the ‘bald people’ works, I think anxiety, often as in life, will turn the fuzz on and play something very obnoxious and in the wrong key. Though I’d like to think my colour palette and scenes act like earplugs to the average viewer, so it’s more subtle than a fuzz solo. I think there’s an unsettling nature to some works because of the combination of blank stares, metaphysical distortions, and comfortable, elegant, or relatable settings. I feel like this shares the often random and illogical nature of anxiety.
Q: Can you tell us a little about your background and how you came to be an artist.
A: I’m half Australian, half Greek Cypriot, and grew up on an 80-acre farm in the wheatbelt of Western Australia. I was inspired by my dad, who was a creative illustrator, and found it fascinating how he could draw and design all these amazing things, so drawing was one of my favorite pastimes as a kid. I did art in high school but focused only on music until about 3 years ago, when I decided to get back into visual art. I’ve been in lots of bands and love playing, touring, recording, writing, and teaching, and I still do, but it’s been really fun exploring my visual expression now too. It was during the COVID lockdown when I was inspired to pick it back up since there were no gigs. I re-taught myself the basics using online resources and eventually found a studio to rent and got into soft pastels as a medium when I discovered they can look like oil paintings but with less mess. I was always hopeless at cleaning my brushes, and there’s something about using fingers and hands to blend the pigment that I find meditative and satisfying.
Q: Themes like depression, insomnia, and melancholy can feel isolating, yet your pieces carry sense of connection. How do you aim to translate such solitary emotions into shared visual experiences.
A: I don’t always start out with the goal to convey specific themes or emotions, but as a visual concept comes together, I can see them in the work, and that informs the decisions I make as I go. Many of the figures are alone, either in a version of my home or an imaginary space with nonchalant expressions. I kind of just go with the flow and do what feels right, and they often end up taking on moods that have the emotional heaviness you’re referring to. That’s the enjoyable part for me; creating figures in these relatable scenes and learning who they are and what they’re feeling as they take form. They end up having their own issues that are completely subjective to the viewer, which I like the idea of. Trying to understand the work forces a human connection because if the figure/work has a melancholy or sinister feel, the curious and empathetic want to know why and what the situation is.
Q: What draws you to distorting the human form, and what meaning does it hold for you.
A: I consider most of my characters to be androgynous and every artwork an experimental study. I love fluid motions and the flowing lines of the human body and seeing if I can create an original motif whilst doodling. I like to not be too precious about perfection, as it allows me to let go and see what it does to the perceived personality of the figure. I’ve always loved surrealism and find it interesting when the characters look a little wrong or weird, and often the distortions end up implying certain feelings. In some cases, it’s like a visual version of punk music: a response to all the pretty people on social media and a reminder to not take things too seriously. In other cases, it might be capturing a mundane moment but in a way that invites a deeper reflection on present life. I also love portraiture and high-detail works and still practice more realistic pieces. The weird figures are like a surrogate world I can slip back into when I’m in that mood until the work has the correct contrast of definition and looseness. Balance is such an important word here.
Q: The multi-handed figures seem to hold several emotions at once. What are you trying to convey through these gestures.
A: It started from practicing drawing hands and morphed into strange figures holding their own limbs. I see them as metaphors for frustration, hopelessness, and constraint. The contrast created by depicting them in a sensual or elegant manner, for me, shares a sense of trying to find the beauty in ugliness, or the hope in uncertainty, whether that’s something tangible or experienced. But really, they’re for no one and everyone, so any meaning or feeling someone gets is correct, because the reaction from such a strange image can say more about the viewer than the artist.
Q: Fill in the blank: I am at peace when my inner world makes room for uninterrupted, flowing creativity and spending time with people I love.
Through his exploration of distortion, symbolism, and emotional weight, McDonald constructs a body of work that reflects the complexities of the human condition. His figures exist in a space that feels at once familiar and disorienting, leaving room for interpretation shaped by each viewer’s own experiences. His practice continues to expand the language of contemporary art in a way that feels both personal and resonant. By working with subtle psychological cues and unexpected formal shifts, his compositions hold a sense of quiet tension that lingers beyond the initial viewing.
To see more of Benjamin McDonald's incredible work and stay updated on his latest projects, be sure to follow him on Instagram and visit his website!
Disclaimer:
The personal views, opinions, and perspectives expressed by artists featured, interviewed, or presented on this site are solely those of the respective individuals. They do not reflect the views, beliefs, or opinions of Selfless Art Gallery, its staff, or affiliates.
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