BEN BRAGONIER

I have always been drawn to three-dimensional art, particularly mobiles. The sculptures that move and occupy unconventional spaces have captivated me since I first saw Calder’s work at MoMA during my teenage years. I littered my childhood bedroom ceiling with makeshift mobiles.

Later, I learned to manipulate wire and cut sheet metal using basic hand tools. Through trial and error, I created numerous Calder-inspired pieces while learning the art of making mobiles. I greatly admire Calder, Giacometti, Prentice, and many others who contribute to the advancement of mobile making.

Although I was trained as a graphic designer, my true passion has always been in the fine arts. I love design, but I value personal expression through the tangible manipulation of materials. Actively inventing and troubleshooting while engaging with my surroundings has resulted in the place-based work presented here.

My prints complement my sculptural work and vice versa. One discipline takes turns following the other. In contrast to the measured pace of making mobiles, monotype printmaking allows me to take a more spontaneous approach to making art. Creating two-dimensional work allows me a different pathway to documenting what catches my eye. 

The new prints featured here all have a prepared gold, copper, or silver leaf base. The leafing gives each print a luminous quality corresponding to the lighting—and possibly temperature—on a given day. The prints are created in layers, and they present the illusion of light emission and the illusion of depth.

In contrast to my prints, I often work directly from physical material collected in the field. In many ways, my copper-based mobiles are three-dimensional sketches. The shapes and forms featured in my mobiles and prints will feel familiar for many Alaskans. While my work is particular to my environment, I hope it will resonate beyond the 49^th state.