We’re excited to introduce you to the always interesting and insightful Benji Stiles. We hope you’ll enjoy our conversation with Benji below.

Benji, looking forward to hearing all of your stories today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

It’s interesting to me thinking about art and learning because it is so much a part of my life now. As a full time teacher, full time artist, and as MFA student I am surround by creative people all the time.

As so many artist often speak of, it was a schoolteacher who really got me going at the end of high school- my photography teacher Mr. Gary Carlson; and then again in College with my art history teacher Dr. Nance Jircik and Philosophy professor Dr. Hall… which led to an investigation of making through the Glassell School: Patrick Palmer, Amy Blakemore, Will Michels, J. Hill, Dana Frankfort…

All of the educators above, and many more were foundational in my introduction to making/thinking and the visual arts.

More recently, as I continue to investigate making – my professors and cohort at MICA (Maryland Institute College of art) have been formative and influencial in how I approach my practice. My mentors/professors: Fabienne Lasserre, Howard el-Yasin, Jackie Milad, Nadia Hironaka, as well as the visiting artists, all have been pivital in my progress.

As an educator in the public schools, working with my students on a daily basis – introducing them to the diversity within the arts world as well as our rich local resources like the Contemporary Arts Museum Houston, Menil Collection, Museum of Fine Arts Houston. Our city has so much to offer; I take advantage of our city’s resources and want to make my students aware of what is out there.

Finally, my friends, family, and the Houston arts community especially my studio family at Hardy & Nance Studios continue to keep me grounded and provide inspiration and monumental support through my journey as an artist.

Regarding my individual practice, I lean heavily on listening, looking, and reading, meditation, and discourse with other artists and thinkers. Alowing change in my work, welcoming mistakes & failure, working to balance my time, and understanding when to step away and take time off of making have been critical for me in learning my craft.

As an interdisciplinary artist, I feel a certain sense of freedom, openness and vulnerability which is both exciting and challenging… making can be both cathartic and stressful… working to understand the rhythm of my own personal practice is a huge challenge as it constantly evolves.

Benji, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I’m transdisciplinary artist and educator from New Orleans and currently live and work near downtown Houston. I went to High School in Minnesota and got my degree from the University of St. Thomas Houston, with a major in Liberal Arts (Art History/Philosophy) and a minor in Studio Art (Glassell school). Currently I’m working towards an MFA (Interdisciplinary Art) at MICA (Maryland Institute College of Art). A brief/inadequate description of my work is that it ranges from non-representational painting focusing on diverse mark making and color theory, to conceptual sculpture, assemblage, and installation work using a variety of media including historical and found objects.

My practice in Houston is based out of Hardy & Nance Studios and in Baltimore at the Graduate Studios in the Lazarus Building.

The gateway for me to a dedicated practice was through photography. I learned core formal principles, how to “see” with intention and process the moment. Spending 4 years after graduating from college working as a 1st assistant for commercial photographer Terry Vine, provided me with an intense opportunity and introduction to the commercial art world. I learned quite a bit about the technical side of photography, working with clients and the importance of relationships, and the business side of the art world. I also learned that the commercial side of the art world wasn’t for me which led me to teaching and making art.

While I still make objects: paintings, sculptures, images, etc. currently I’m working more to understand space through installation work, curating, collaboration, video, and performance. How we move and live within our spaces both individually and collectively…as well as how to respond to the world by creating work that comes from within me and speaks to a wide audience on a variety of levels. A part of my practice is an interest in materiality in found objects and construction materials and also in the overlapping of: human, urban, and natural landscapes and the outcome of those interactions.

I think my installation project, “Flag 231”, a 6 x 10 foot wall installation composed of 231 pigment tinted plaster casts of clay pigeons is on the right track.

For you, what’s the most rewarding aspect of being a creative?

Rewarding aspects to being an artist are: the intentional space for discourse with other creatives, time spent working in my studio, and sharing my work with others… really a combination of community and creative expression.

We’d love to hear your thoughts on NFTs. (Note: this is for education/entertainment purposes only, readers should not construe this as advice)

I don’t like them.

Contact Info:

• Instagram: @benjistilesart