Ben Watts, born in London, England in 1967, was a student at the Sydney College of Arts from 1985 to 1990. He started his photographic career in Australia, first working as a photographer’s assistant, but soon began taking on commissions of his own, shooting for Australian Elle and Vogue, among others. Fascinated by American hip hop culture he came to New York in 1990 and started documenting urban youth, hitting the streets and clubs of the city in his attempt to capture his subjects on film.

Watts permanently moved to New York in 1995, and has since shot advertising campaigns for Nike, Jockey, Polo Ralph Lauren, Miller lite, Kodak, Roxy-Quicksilver, The Gap, Sony Music, Capitol/Emi, Loud Records, Tommyboy Records, and Apple, to name a few. He is a regular contributor to numerous magazines, including New York times magazine, GQ, Interview, Rolling Stone, Vibe, Trace, Detour, Raygun, Esquire, Elle, and Tokion. His work has also been published in Vanity Fair, Harper’s Bazaar, Outside Magazine, Travel & Leisure, and Conde” Nast Traveller, among others.

Watts has contributed to several group exhibitions in New York, including ‘Art in Photography,’ he lives and works in New York.

Neon hues, bold graphics and a pulsating energy are at the beating heart of each of Ben Watts’ images. Bursting with a sense of youthful vibrancy, Watts’ photographic style is unmistakable. Watts creates his contemporary pop-art styled photographs through his distinctive use of photomontage in which he layers patterns, text, and images into dynamic cut-and-paste compositions. His works feature some the most familiar faces in fashion today, such as top models Gigi Hadid and Karlie Kloss, photographed with enthusiastic expressions and laid-back demeanour.

Watts’ series ‘Montauk Dreaming’ was described by Vanity Fair as “a neon filtered window into the people, places, and parties of the once sleepy beach town [Montauk].” A location where the high frequency of energy in his pictures can truly thrive, the beach is often a focal element in Watt’s photographs, as they embrace the playful, colourful, and free-spirited flavour of summer.

Prior to moving to New York, Watts visited the city in the early 1990s and quickly became inspired by the city's youth and hip-hop culture, finding a creative fixation within the pages of Vibe magazine. Inspired by the fashion cults born from hip-hop music, Watts placed his aspirations at Vibe magazine where his tenacious spirit proved successful after meeting with the Director of Photography, George Pitts, who saw promise in his works. These early influences take shape in Watts’ signature style which can be characterised as loud, vibrant, and always colourful.

Watts shares photographer Arthur Elgort as a key inspirational figure to his works, explaining that Elgort’s evocation of happiness in his pictures appealed to him as they provided a unique vision of joy during a period of photography which could at times be steeply concerned with the depiction of overly serious subject matter. The feeling of joy is of great significance within Watts’ works which he self-titles ‘The Happy Picture,’ a term he coined to describe the feel-good atmosphere of his works. Watts shares, “I have a thread of continuity that runs through my pictures. I call it the happy picture because my pictures are colorful… the energy that's in the image is always optimistic, whether it's the vibrancy of the color or the smile on the model, making people feel comfortable is very important.”

The concept of the happy picture also extends to Watts’ approach when taking his photographs, as he places great importance on having a positive ambience on set and often asks the crew to dance and sing along with the models to create a welcoming and energetic atmosphere to the shoot. Whilst a firm advocate for the necessity of strong ideas and a clear plan when beginning a shoot, Watts also ensures sure to leave room for spontaneity, using candour and humour to create moments of serendipity in his works.

There is an acute vulnerability and openness in embracing the concept of happiness as central to a work of art, an emotion so greatly sought after yet often deemed as naive in artistic contexts, in Watts’ ability to capture these ‘happy pictures’ lies his unique talents.