ANDREW BENYEI
BIOGRAPHY
Born in 1949, Benyei developed an early interest in the arts and began sketching and carving in his youth. During high school, he taught art at the Royal Ontario Museum, the YMCA and summer camps. Following graduation from the University of Toronto and working as a professional engineer and manager, Benyei continued to explore his talent as he attended and graduated from the Ontario College of Art. In 1990, after a shifting of personal priorities, he decided to concentrate on his artistic career.
Benyei’s expressive contemporary sculpture explores the human condition and, in his words “ are personal emotional responses to the intricate and complex interactions of people whose expectations have been tempered by life.” Most are anecdotal in a way which invites exploration of a possible underlying story, and many reflect the ups and downs of life in the kind of large organizations where Benyei spent much of his career. He displays an endearing empathy with the subjects he portrays and his interpretation is excitingly fresh and new. Benyei articulates his forms through a variety of media, including bronze, fibreglass, clay, and resin and his training as an engineer reveals itself within the composition and structure of the work, as each shows a precise, calculated point of balance and a disciplined and uncluttered energy.
Andrew is a member of the Ontario Society of Artists, Society of Canadian Artists, Sculptor’s Society of Canada
"Like most other artists, I am always aware of my surroundings – and frequently see situations from the perspective of a composition".
"However, the main source of inspiration for my situational sculptures is usually related to past or current comments and conversations as they reflect my environment. My sculptured characters and scenarios represent very real situations (within an artistic interpretation); I relate to their roles, personalities and feelings. With their mini-drama composition, my sculptures can be viewed as a “slice in time”."
"Because in the past I may have experienced their situations, I have great empathy with my characters; I understand their frustrations and use a variety of methods of expression".
"For example, not only their facial expressions and body language, but also their clothing projects an image that always relates to the main message. Frequently I used feet and men’s ties as metaphors for power and/or connectedness".
"Commissioned sculptures offer quite different creative challenges. Whether for a corporate or private client, my role is to interpret the client’s thoughts – to listen and understand the ‘situation’ that we want to portray".
"For individual and group portraits, I use a series of panoramic photos, plus personal sittings, as a basis – but the end result is more to capture the essence of the individual(s) rather than create a slavish rendition".
"The physical part of the creative process begins with a rough sketch, which is quickly translated into a small plasticine maquette. Then I sculpt full-size in clay, and from that, make either a plaster mold for a single issue, or one of flexible rubber for a limited edition series. The final sculptures are cast in fiberglass (with some reinforcement for the larger prices), and then painted in oils".
"My bronzes follow a quite different conceptual (and physical) process. These figures focus primarily on motion and movement, and represent my love and delight in the human figure, whether as an athletic dancer or a more Rubenesque bather. I see bronze as an almost liquid, flowing material, and my pieces virtually evolve as I mold the original clay from which the final figures will be cast".
"As I have often explained, I sculpt what I feel – and paint what I see".
"Most of my paintings are spatial and show vistas of beaches and lakes. Certain elements were inspired by the beaches of Cape Cod, but many represent my sense of the peace and affinity that Canadian lakes reflect to all of us".
"My work schedule is unstructured – although I do find my creative juices flow better later in the day. Quite often, I find that I am totally caught up in the developing process, and will work without a break until way past midnight. To maintain a fresh perspective, I work on several pieces (sculpture and paintings) – often as many as ten at one time. And CBC Radio keeps me company; it talks to me without requiring a response".
"All this is to explain that I love what I do – and what I create. I can think of no better way to spend the rest of my life".
Benyei’s expressive contemporary sculpture explores the human condition and, in his words “ are personal emotional responses to the intricate and complex interactions of people whose expectations have been tempered by life.” Most are anecdotal in a way which invites exploration of a possible underlying story, and many reflect the ups and downs of life in the kind of large organizations where Benyei spent much of his career. He displays an endearing empathy with the subjects he portrays and his interpretation is excitingly fresh and new. Benyei articulates his forms through a variety of media, including bronze, fibreglass, clay, and resin and his training as an engineer reveals itself within the composition and structure of the work, as each shows a precise, calculated point of balance and a disciplined and uncluttered energy.
Andrew is a member of the Ontario Society of Artists, Society of Canadian Artists, Sculptor’s Society of Canada
"Like most other artists, I am always aware of my surroundings – and frequently see situations from the perspective of a composition".
"However, the main source of inspiration for my situational sculptures is usually related to past or current comments and conversations as they reflect my environment. My sculptured characters and scenarios represent very real situations (within an artistic interpretation); I relate to their roles, personalities and feelings. With their mini-drama composition, my sculptures can be viewed as a “slice in time”."
"Because in the past I may have experienced their situations, I have great empathy with my characters; I understand their frustrations and use a variety of methods of expression".
"For example, not only their facial expressions and body language, but also their clothing projects an image that always relates to the main message. Frequently I used feet and men’s ties as metaphors for power and/or connectedness".
"Commissioned sculptures offer quite different creative challenges. Whether for a corporate or private client, my role is to interpret the client’s thoughts – to listen and understand the ‘situation’ that we want to portray".
"For individual and group portraits, I use a series of panoramic photos, plus personal sittings, as a basis – but the end result is more to capture the essence of the individual(s) rather than create a slavish rendition".
"The physical part of the creative process begins with a rough sketch, which is quickly translated into a small plasticine maquette. Then I sculpt full-size in clay, and from that, make either a plaster mold for a single issue, or one of flexible rubber for a limited edition series. The final sculptures are cast in fiberglass (with some reinforcement for the larger prices), and then painted in oils".
"My bronzes follow a quite different conceptual (and physical) process. These figures focus primarily on motion and movement, and represent my love and delight in the human figure, whether as an athletic dancer or a more Rubenesque bather. I see bronze as an almost liquid, flowing material, and my pieces virtually evolve as I mold the original clay from which the final figures will be cast".
"As I have often explained, I sculpt what I feel – and paint what I see".
"Most of my paintings are spatial and show vistas of beaches and lakes. Certain elements were inspired by the beaches of Cape Cod, but many represent my sense of the peace and affinity that Canadian lakes reflect to all of us".
"My work schedule is unstructured – although I do find my creative juices flow better later in the day. Quite often, I find that I am totally caught up in the developing process, and will work without a break until way past midnight. To maintain a fresh perspective, I work on several pieces (sculpture and paintings) – often as many as ten at one time. And CBC Radio keeps me company; it talks to me without requiring a response".
"All this is to explain that I love what I do – and what I create. I can think of no better way to spend the rest of my life".