BEN BARBETTA THOMPSON

CROSS [2026] 110x150cm Acrylic silkscreen and charcoal on linen Shot this photograph in 2024 and it’s haunted me ever since. Rest easy.

LOVE’S WITNESS [2025] Acrylic silkscreen and oil on linen 2 panels - 110x85cm | 110x65cm New studio. New work.

STAINED CARNIS [2025] 110x150cm Acrylic silkscreen on canvas From IN CARNATIONS @passage_art w/ @mio.misha

WRONG ‘UN @arronburton.studio IMAGE @bnthmpsn STYLING @harryjcrum TALENT @charlie__soffe

UNIFORM COLLECTION 01 PARIS @uniform_____ @betsyjohnson_ Love to @betsyjohnson_ @1.5kiki @____dax______ @lawatchparty @lucaschemotti @jncdrs

Photographs from my archives [2024–2025] A promise to myself to share more photography this year. 1. Cross, Stockport 2. Portrait of Liv 3. Florals, Kyoto 4. Hand stitches, Liv 5. Curtain, LA 6. Fire, LA 7. Umbrella, Tokyo 8. Kiss, Pheobe + Mike 9. Rose on the beach, Girona 10. Dancer, Sharon Eyal 11. Birds, Manchester 12. Meg’s arm, Tokyo 13. Fence flowers, LA 14. Meg, Tokyo 15. In God We Trust, Huntington Beach 16. Hearse, Berlin 17. Dancer, Blackhaine 18. Portrait of Giulia

SAN MICHELE by Ben Barbetta Thompson @bnthmpsn Launching 25 | 26 October @boundartbookfair [DM us to reserve a copy to collect or post] Shot in a single afternoon on the Venetian cemetery island, a ferry ride from the mainland, SAN MICHELE offers an insight into one of the most baroque displays of mass death memorial that Italy is famed for. Grand gothic pavilions, endless fields of crosses, weather-beaten statues, names dissolving under lichen, all encased at the core of a clay-walled isle sinking further into the lagoon by the burial. A quiet theatre of remembrance, screaming at tourists from over the water. Not many listen. Barbetta Thompson repeatedly photocopies these images, imprinting a visual decay, fading them with ink, like the monuments eroded by time. This is not a postcard or a documentary piece, but a statement of impermanence, an artistic exploration to trigger the feeling of being the only living person standing on that soil, on that day, at that time. SAN MICHELE revels in the showmanship of beauty and power, the seduction of Catholic pomp, the human impulse to preserve, to mourn, to mark our territory. 19 x 25cm Softcover : Takeo Tant Select N-52 60 pages : 120gsm Munken Lynx Singer Sewn First Edition /50 Printed in the UK Photography, Art Direction & Design @bnthmpsn Published by @hardel____

Rare one by @meg_saoirse

BACK OF THE HAND A @hardel____ group presentation featuring @jncdrs @bnthmpsn @moritz_lindur @mio.misha @studio.linne — graciously hosted by @openspace.berlin Thank you Berlin for sharing this precious moment with us. Thank you LICITR @lauren___maria @prenatal_amygdala for the unforgettable live performance. Thank you @madalinagaceanu for the beautiful live soundtrack. Thank you @0800naturescalling for filling our glasses. Until next time 🤲🏼🕊️

HARDEL presents. BACK OF THE HAND 04 SEPTEMBER | 18:00 — 22:00 @openspace.berlin Works by @jncdrs @bnthmpsn @moritz_lindur @mio.misha @studio.linne Live performance by LICITIR @lauren___maria @prenatal_amygdala Live soundtrack by @madalinagaceanu Wine by @0800naturescalling A group presentation and performance curated by @hardel____ OPEN Linienstraße 111 10115 Berlin

Honoured to have photographed, curated and published FEMALE FOOTWEAR DESTRUCTION SERVICE by my shoe obsessed wife @meg_saoirse as the debut release on @hardel____ So proud of Meg and this body of work. Blood, sweat, blisters. Exhibition continues at Village until 4 May. Concept, Sculpture & Performance by @meg_saoirse Photography, Curation & Art Direction by me Published by @hardel____ Hosted by @villagebooks.co @village.gallery

010: Ben Barbetta Thompson & Misha Todirascu present “In Carnations” a duo show at Passage. Carnis: the Latin word describing the flesh of a plant or animal. In the artistic tradition, ‘carnation’ refers to the imitation of flesh, its depiction, evoking notions of vulnerability, desire—of life, death, and reincarnation. Our age is one of plastic-wrapped perfection, of limitless consumption, of cycles spun into hyper-speed. Our disdain for natural processes grows, and our connection to these rhythms and their teachings becomes increasingly tenuous. Presenting a real-time performance of a natural lifecycle, Ben Barbetta Thompson and Misha Todirascu collaborate to oppose this cultural trend. Within the four walls of Passage, a sacred space is formed in which death and decay are honoured as essential, beautiful, and profound. Suspended, a nude figure reclines, indulging in the rapture of final rest, a rare ecstasy. The natural variation in Barbetta Thompson’s silkscreen technique lends each iteration its own character, creating a canvas populated not by soulless replicas, but distinct individuals at different stages of existence, captured at different moments of creation, stained blood-red. In this depiction, flesh is exposed, its naked tenderness a reminder of our own mortal fragility. Pushing the boundaries of floristry and invoking the craft’s ritualistic origins, Todirasu’s organic sculpture is a celebration of the beauty of natural forms and their power as living beings to provoke us. As dark skeletal branches intertwine with withered capillaries of dry grass and organs in bloom, the installation draws parallels with the human forms that hang above it, delicate entrails of petals and stems. Handed out during the exhibition’s opening night, white carnations, typically presented at weddings, depart from the dramatic red carnations, favoured for funerals, that remain within the installation, a symbolic enactment of mortal passage; one moves forth, another remains. Todirascu lays these entangled figures to rest, to enact their fated decomposition, a ritual death that demands our witness. Full Text by @li.lianaaaa_____ available on the website