His new work pushes abstract sculpture towards the Baroque. Nevertheless, the pieces are organized—governed, by their own sculptural architecture. This architecture inclines to cage-like configurations characterized by curved rods and tubes containing curved plates and volumes. The pieces rise off the ground in a variety of ways, sometimes upon platforms that become surrogates for the floor rather than bases or plinths. These platforms don’t hold the sculpture aloft in the traditional sense. They’re part of the visual universe of each work rather than a separate element. They’re something like abstract “stages” which help to separate and isolate the configurations. The platforms keep them apart; they insist that the sculpture is designed to be looked at rather than physically entered.
The curved “drawing” which composes them has two aspects: it draws sinuous “dancing” arabesques in the air and it draws around and contains space. In the first aspect it draws within and penetrates space. In the second, it draws “around” space, creating transparent shaped and volumes.
These two aspects of linear drawing are augmented by the insertion of plates, cones and cylinders. Here Bentham gains variety by playing off transparent shapes (drawn with rods and thin pipes) against these opaque solids. These rather musical compositions play upon the relations between the explicit and the implicit, in effect blurring the distinctions between the two. Solids become illusory. Spaces become substantial. The various parts set up echoes and rhythms within the piece, much like echoes and rhythms do in music or poetry.Terry Fenton
From catalogue essay, National Exhibition Centre, Swift Current, 1991