@drabl's Drawing a Blank group exhibition series celebrates emerging artists, taking them out of what has often been perceived to be as Broome coins it, a ‘stuffy’ white wall, or gallery space. From abandoned police stations in Harlem, New York to closed down book shops in central London, Drawing a Blank celebrates a sprawling countercultural approach to curation and exhibition. Despite being someone who always felt detached from art growing up, Broome is defining himself as an unwavering young gun. Having exhibited works from the likes of artist Kesewa Aboah, filmmaking and photography duo Jalan and Jibril Durimel, designer Bianca Saunders, and photographer Frank Lebon, just to name a few, his coterie of collaborators reads like an indubitable A-team across the fields of contemporary art, photography, and design today. To challenge the confines of a gallery space with a sense of chaotic yet sensorial disorder is only one component of Ben’s curatorial DNA. Balancing the art of integrity and irreverence whilst simultaneously avoiding and accepting the inevitability of a commercial partnership lays the foundations for his approach. Daring to walk an iconoclastic line, with dreams of putting a punk band in institutions such as Gagosian, his eclectic vision for the future could prove why white wall spaces symbolise beacons of Broome’s hope for change. With a quip about whether or not he’d want his own show at the Tate, he simply responded ‘who am I kidding, of course I want that!’ But as Ben Broome continues to develop and mature, one constant remains, is it time to ‘sell out’ and how would he redeem himself? I sat down with Ben for @systemmagazine online to discuss why exclusivity is now outdated, how he continues to fuel the visceral desire to harmoniously construct and deconstruct and despite his seemingly supersonic rise to prominence, he’s been playing the long game this entire time.