Maurice Carlin is an artist and director of Islington Mill. He was the a-n Visual Artist Clore Leadership Fellow (2016/17). His practice deals with artistic structures and processes, emerging from the independent peer-led Islington Mill Art Academy that he co-founded in 2007. His ongoing #TemporaryCustodians project reflects on historical and contemporary modes of shared ownership in order to propose new models which may provide longer-term support to artists outside current established norms. Temporary Custodians of Islington Mill 2018 – 2028 is an exploration of what it means for a group of 100 people to co-own and share a large scale artwork over a 10 year period.
“I am interested in not only making art but in working to reshape the wider context that art and artists operate within. It is important to address these wider structures, not only because they directly affect what is possible for artists, but because they have so much bearing on our perceptions of what art is and who it is for.”
Gayle Chong Kwan
Gayle Chong Kwan’s work has been exhibited and published internationally, and is represented in international public and private collections. Born in Edinburgh and currently living and working in London, she is keen to see more artists involved in campaigning. Upon joining the Council in 2014 she said:
“I am keen to explore ways to involve members in decision-making processes, reflecting the complexity and diversity of contemporary visual arts practice. I want to support strategic campaigns, such as the timely Paying Artists campaign, which aims to create long-term change in the economic and social status of artists.”
Steve Dutton is an artist whose individual and collaborative projects have been exhibited throughout the UK and internationally. He has contributed to various magazines, publications, journals and conferences on contemporary art, including ‘Sensuous Knowledge 7’ with The Art Museums of Bergen and Bergen Academy of Art and Design, ‘Arts and Society Conference 2013, Budapest, and 2014, Rome’ and ‘Society of Artistic Research 2015 and 2016’. He has also curated a number of exhibitions, including ‘Unspeaking Engagements’ for Chulalongkorn Art Centre in Bangkok and LGP in Coventry and Possession for Bangkok Arts and Culture Centre in 2013 (both co-curated with Brian Curtin).
“The contributions art and artists make to a fully lived life and society are incalculable. For me, it’s all about emphasising the critically important role of art, enabling artists to continue to make, speak and think, and to be fully recognised for doing so.”
S Mark Gubb
Born and raised near Margate, Kent, S Mark Gubb now lives and works out of Cardiff. His practice is broadly sculptural, also incorporating performance, video, installation and work in the public realm. He has a developed interest in the audience role and experience, particularly with works outside of an institutional context, and is currently developing a PhD around these themes. He has worked as a lecturer in FE and HE for the past sixteen years and is currently Senior Lecturer in Fine Art at The University of Worcester. He has also worked a lot in artist’s professional development, particularly with WARP/g39 in Cardiff and a-n, for whom he has worked in various freelance capacities for around fifteen years.
“I’ve always felt a particular commitment to try and demystify the practicalities of developing some sort of sustainable or viable career. As ours is an industry with such an indefinable career path, it’s very easy to find yourself stepping off a cliff.”
Bethan Lloyd Worthington
Bethan Lloyd Worthington works with objects, drawing and installation to explore place and fragmentation through time. As part of this she’s particularly interested in archaeology. Archaeologists work with site, science, etymology, speculation and magic. They operate in a state of concerted, parallel knowing and unknowing – a good mirror for artistic processes.
In 2016-17 Bethan was Artist in Residence at the Victoria and Albert Museum, in the Ceramics Collections. Work from this time associates ritual landscapes with domestic ones through ceramic objects. She also began an ongoing collaboration working with contemporary writers and historic objects.
“What I care about in making work, and what I try to create in the teaching I do, is the space for strange thinking, for small revelations. In working life when the practicalities of how things should be are clear and understood by everyone involved, when everyone feels they’re getting a fair deal, it clears that space for something of value.”
Steven Paige is an artist investigating latent potentials in redundant knowledge, and its affinity to the proposition of the archive as found in print and film. Work is realised through performance, time-based and digital media and has included installations, print, photography and artist publishing. He has exhibited nationally and internationally.
A number of previous roles include; the steering committees of Visual Arts South West and Cornwall Visual Arts Forum, an Alias advisor and as the initial project coodinator of the artists programme PAC Home, Plymouth. He has co-produced and curated regional and national artist platforms, inluding More Cornwall and co-developed artist-led international exchange programmes namely Trade Routes and Arts Council England funded The Western Alliance.
He is Joint Programme Leader of BA Fine Art at Plymouth College of Art and is also pursuing a practice-based AHRC PhD studentship at Plymouth University.
Emily Speed works in drawing, sculpture, installation, performance, photography and artists’ books, exploring the temporary and the transient through reference to architecture and the body. She examines buildings, both literally and metaphorically, as physical shelters and as containers for memory, bound with the history of their occupiers. She exhibits nationally and internationally, often using architectural forms in her work as it represents the most poignant example of transience; man’s attempt to create permanence and legacy through building. She is based at The Royal Standard in Liverpool. She was shortlisted for the 2013 Northern Art Prize. Her a-n blog Getting Paid foregrounded the major issues artists encounter in earning a living from their practice.
Glen Stoker is a visual artist working in photography and film, installation and assemblage, performance and text. His site and location specific practice is centred on acts of walk and response, and carried out largely in the public realm. Themes of urban place and space narrow down to a particular focus on urban land use and the post-industrial human living condition, alongside ideas of absence and presence and longing and belonging in the contemporary city. Glen combines his practice with his role as director of AirSpace Gallery, an artist-led project in Stoke-on-Trent.
“Artist-led activity is the heartbeat of the UK’s contemporary visual arts ecology, helping to inform and set the wider arts agenda. Often it flies below the popular radar, without a proper recognition of the professional practices that underpin it. I look forward to supporting the Council’s and a-n’s crucial ongoing advocacy for the Artist-led.”
Binita Walia has been making large-scale, architectural glassworks for buildings since 1997. She is a graduate of Edinburgh College of Art and The Royal College of Art and works from her garden studio in South London. After her show Modern Women at AirSpace gallery she is developing a yearlong project entitled Commemorating a Modern Woman. Walia also works in arts marketing and develops participation projects for the Dulwich Picture Gallery Good Times programme.
“a-n looks to the needs of artists, best practice and advocates on artists’ behalf. I feel strongly that artists should be recognised as valuable to society and so contributing to the research and activating the campaigns that a-n undertakes is very important to me.”
Joseph Young works in sound, performance and installation. He has exhibited and shown nationally and internationally in London, Berlin, Seoul and New York. His alter ego Giuseppe Marinetti is the founder and Artistic Director of Neo Futurist Collective and CEO of the fictional Skinny Vintage Investment Corporation. An edition of Young’s work is held in the permanent collection of the Estorick Collection in London. Young joined the Council in 2011 and has been an active campaigner ever since.
“I am particularly proud of being involved in the Paying Artists campaign, which I believe will have a significant impact on the livelihoods of artists in the UK. I am also passionate about international links and learning from our partner organisations abroad. I am fortunate to have represented the Council at a number of international conferences and will continue to make the case for artists wherever and whenever I can.”