I first saw Benedict Drew’s work in 2012, in Newcastle, as part of a festival of audiovisual art themed around slowness – a rubric that felt at first apt and then, as his work unfolded, something of a misnomer for the 2011 Slade graduate. Drew’s multiroom installation, The Persuaders (2012), led one from eerily cheery anthropomorphic faces, made from protractors and cut-out stars placed on old-school overhead projectors, past lumpen and queasy sculpted figures, the sound of Clangers-ish whistles and…
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