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 built up in multiple layers.
Within his most recent work, the titles in numbered lists reflect a basic categorisation by subject - the city, the house, the museum, the church, the interior, the stadium - and within these, a series of paintings, digital prints and collages are developed. Whilst functioning as a taxonomy of urban and architectural subjects, the paintings are allowed to adopt varying forms, 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.
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.