Benedict dos Remedios "Friends with Benefits"

When Saturdays opened, I think a lot of Australians had the same thought: “Why didn’t I think of that?” Our connections, through the Flynn brothers and restaurants like Ruby’s and Dudley’s, brought us together. I spent several years managing Ruby’s while still pursuing my painting. I was then asked to help launch Dudley’s in New York City, alongside Nick Mathers and Steve Aoki—who has that restaurant connection thanks to his father. I stayed there for about five years.

What I miss most about the restaurant scene is the sense of community. The daily interactions with people were invaluable. I remember when Orchard Street was freshly paved; skaters would roll down and stop in for breakfast or lunch. Dylan Rieder, who lived just around the corner, was a regular. My routine involved working from 10 a.m. to 6 p.m., having dinner with my wife, and then heading to the studio until 2 a.m., making that trek to Brooklyn every day. That’s the New York story—just figuring it out. It’s been five years since I was last in NYC, and I’m excited to see how it’s evolved since we left.

I have so many fond memories of the Team Gallery, The Hole openings, and major exhibitions that would shut down the entire block. Those events were exhilarating; they kept you on your toes and immersed you in the latest cultural happenings. Back then, I was exploring the surfing lifestyle in my work, creating large-scale pieces of crashing waves—only without the surfers. I’d also experiment with wooden panels, waxing them like surfboards to create a unique texture, then layering different colors of spray paint. This work was more abstract and insider, inviting viewers to piece it together if they recognized the texture and shape.

Eventually, I transitioned to airbrush techniques and started painting orchids. A trip back to Spain reignited my passion when I rediscovered some of my older work. This led me down a rabbit hole of image research, where I became fascinated by exotic flower patterns. The spotted motif captured my imagination, and I began to explore their evolutionary significance. My upcoming exhibition is titled “Friends With Benefits,” inspired by the symbiotic relationship between orchids and butterflies. Moths and butterflies are drawn to orchids, thinking they’ll find a mate, and in the process, they help pollinate the flowers—an idea that Darwin touched upon, linking it to his theory of evolution.

We often see ourselves reflected in nature, and I like to connect these themes with our self-perception. My first show featuring this work was called “Catfished,” because I felt like the orchids were tricking the butterflies. I stumbled upon orchid images through Instagram’s explore feature and noticed butterflies popping up in my feed as well. This overlap has informed my conceptual approach—ignoring it would be like turning a blind eye. I’m considering returning to the theme of big waves for a new series, exploring chaos theory. This idea revolves around a butterfly flapping its wings and triggering a storm somewhere in the world, linking back to my butterfly motifs. I think it will resonate with my painting style and techniques.

I paint late at night in my studio above a pub in Sydney, where the lively sounds of closing time often provide an interesting backdrop. My previous studio was near the BQE and next to a firehouse. I became so accustomed to the noise that I once looked outside to see a fire truck ladder reaching my window during an emergency. You get desensitized to it after a while; it can wear you down. In other exciting news, I’ve been shortlisted for the John Sulman Prize in New South Wales. The art scene here is smaller and more regional, making this recognition even more special.

I was initially worried that the airbrush technique wouldn’t translate well in my paintings, but I was thrilled with the final results. The blurriness of the airbrush can be challenging to photograph, but it reproduced beautifully on the fabric. The way the pattern integrated with the artwork felt organic and not forced.

It would be amusing if someone wore the clothing and ended up catfishing someone—bringing the concept full circle, you know? The final conceptual loop.