that combined electrical interference and physical interference with the speakers to create a distorted sound.” He taught himself how to wire the Eastern European 220-volt system by deciphering the pictures in technical manuals written all in Russian, applying the scientific method and learning through trial and — ZAP! — error. Today, Benefiel’s aesthetic is wide-ranging, using materials from construction projects, reclaimed commercial scrap and parts made from disassembled, lowquality consumer products. “The choice of materials for me is about the relationship between production, consumption and disposal. I am fascinated with the commercial process that creates items with disposability as a major principle of their design. While this might lead to a certain level of hoarding, I feel that there is a method to the materials I use.” A unique combination of playfulness and interactivity imbues his sculptures, and prevents them from
16 | fluent
being heavy-handed or didactic. Rather than “art for the sake of art,” Benefiel calls it “art for the hell of it. I like making work that’s fun.”