Jane Benson (b. 1973, Thornbury, UK) is known for interventions into existing works of art, literature, and found objects.  Benson’s multidisciplinary and research-based approach spans the mediums of sculpture, sound, digital media and prints. In layered and contemplative works, Benson splits, fractures and skews archetypal structures, fake plants, flags, musical instruments, only to reassemble them through her investigative practice. Her methodical and rigorous technique is repetitive and persistent, a matter of pace and, thus, time and re-iteration in order to reveal, reinterpret and regenerate a rigid societal framework based on systems that have been cemented in place over the course of history, for example patriarchy, sexism and displacement.  Recent notable one-person exhibitions include “Half-Truths”, Contemporary Art Center, Cincinnati (2017), “Finding Baghdad” (2016), Boco Raton Museum of Art, Boca Raton, FL, “Faux Faux (Lobby Life)” (2018), Tang Teaching Museum, Saratoga Springs, NY, “The Splits” (2012), and Henry Street Settlement: Abrons Art Center, New York. And in 2012 Benson received a New York City Department of Cultural Affairs commission, through the Percent for Art program, to create a large-scale permanent public artwork in a new building in Queens. Mirror Globe (Mapping the New World). She has been the recipient of numerous awards and residencies including the Fulbright Scholarship, the Pollack-Krasner Grant and the Sharpe-Walentas Studio Program Residency (2022).  Her work is included in public collections such as Manchester Gallery, UK, New York City School Construction Authority/ New York City Department of Cultural Affairs and the Soros Foundations, New York. Benson’s first Monograph, “A Place for Infinite Tuning” was published by Skira and The Contemporary Art Center, Cincinnati in 2019.