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once upon a time in the South sm
learning to fly sm
I used to sleep at nightsm
what you see when you turn out the light sm
bird brain
year of the cat
home among the birds
European hero or Imperial Villain
nineteen o seven
falling from these heights
the weight of feathers.jpg
you almost tricked me twice lg.jpeg
all at sea
honour among thieves
cold comfort
ethical adventures
silly - mania
High Above the Mess.jpg
out of your depth 1
out of your depth 9
out of your depth 5
out opf your depth 6
out of your depth 3
out of your depth 7
out of your depth 2
The innocence will never last
you can run and you can hide
budgie smuggler
ruffled feathers
ground swell
strength in numbers
fight or flight
hot water
local truths are lies elsewhere
a rainy day
silent spring
playing god
comedy of errors
preaching to the converted
rat race
future eating
know the price of everything and the value of nothing
following sheep
the unsettling of Campbell Island
seal steak and a pleurophyllum salad
anywhere but here
snipe dog
Partners in Evolution
natural curiosities
KahuKura Onga Onga
the eileen greenwood memorial trophy
the angler's el dorado
right leaning
Kingyo-Sukui #1


Based in Christchurch, New Zealand, Ben Reid is an artist producing both original print and mixed-media works.

Ben combines specific references to local environmental histories with a wider appreciation for the conservation movement. They provide gentle reminders of the fragile nature of New Zealand’s environment.

Ben graduated in 2005 with a degree in Visual Art, from the Christchurch Polytechnic School of Art and Design, now Ara. He majored in printmaking.

Ben worked for three years as an assistant to master printmaker, Marian Maguire.

His work can be viewed on this site or in a selection of galleries within New Zealand or by private arrangement.



My prints are often created using both drypoint and relief printing techniques. In the drypoint process, I transfer the images from a plate onto paper using a manual printing press. The press works in a similar fashion to old washing machine wringers. The plate is usually made from metal like zinc, copper or aluminum, or sometimes perspex. No acid is used to etch a drypoint plate; instead, I draw directly into the plate using a sharpened metal tool. It is the physical pressure coming directly from my hand that creates the indentation in the plate. Once the plate has been ‘drawn’ it is ‘inked up’ and then wiped back, this process leaves ink sitting in the drawn lines and the undrawn areas free of ink. Printing paper is then placed against the plate and both are passed through the press together. Under pressure, the image on the plate transfers to the paper.
The second process involves printing a wood-block over the top of the original drypoint print. The woodblock plate is made by firstly drawing the design onto the flat block. Then, using handheld woodcutting tools, the areas that I do not want to show in the final print are cut away. Then I run an ink-covered roller over the top of the woodblock. The ink adheres only to the remaining high or non-cut away areas of the block. The woodblock plate and paper is then passed through the press as in the drypoint process. 
I repeat these processes until a specific number of prints is reached. This is called the edition.
Many technical difficulties need to be overcome in order to create successful, accurate and multi-layered prints. Achieving good registration between the layers at a large scale is challenging. As is ensuring all the prints in the edition are the same and that all of the essential character and qualities of the plate is transferred to the paper.
There are certain effects, moods, and qualities that can be created in original prints that can only be achieved using printmaking processes. The results are often highly original, complex and multi-layered works of art.


Thank you for your interest.

For any inquiries or studio visits,

please contact Ben via the contact 

form or call +64 (0)27 656 0568

Ben is represented by the

Chambers Art Gallery in Christchurch

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