There are many other intriguing tropes, devices, and recurring motifs within Senior's repertoire, from cast iron grilles to unorthodox hats and hairstyles, perhaps leading his stylized vocabulary into the realms of nineteenth-century symbolist painting as much as into the health clubs, spas, leisure centers, and parks of today. Indeed, there is a strange sense of timelessness to Senior's practice that is matched by a captivating sense of silence, loneliness, and isolation, despite the figures often being present in couples, clusters, or small groups. Behind their toned physiques, stripy towels and goggles, underneath their winter coats, cagoules, and peaked caps, there are, perhaps, some small glimmers of inner lives - of sentient, intellectual, cultured, emotional, sexual beings trapped within. Senior's oeuvre is, in many ways, preoccupied with repression and expression, freedom and conformity, motion and stasis, balance and inertia, engagement and disengagement. One might even describe his rendering of the human body as a bittersweet analogy for human states of mind, for energy versus futility, effort versus relaxation, health versus decline.

Benjamin Senior completed a BA in painting at Wimbledon School of Art before graduating with an MA in painting from the Royal College of Art in 2010. Recent solo exhibitions include at Grey Noise, Dubai, Studio Voltaire, London, Monica de Cardenas, Milan, James Fuentes, New York, and BolteLang, Zurich.

Featuring an introduction by art critic, writer, and curator Sacha Craddock, an essay by art historian, museum educator, and writer Ben Street, and a text by curator, writer, and lecturer Gabor Gyory, this 100-page hardback monograph has been designed by Joe Gilmore / Qubik, edited by Matt Price, and published by Anomie.