Artist collective Rat Trap outline their hopes for the future of the arts in Wales and consider “how to keep striving for utopian visions”.
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Yinka Shonibare outlines the development of his work in the 1990s, including his “big jump from painting to costume”.
Lubaina Himid remembers the difficulties and successes of the “wilderness years” of 1990s, and how she built her “whole life around making work.”
Franko B discusses his early body and blood-based performances in gay clubs during the 1990s, made at the height of the AIDS crisis.
Grayson Perry recalls the technical progress of his work, his first commercial gallery shows, and ‘hitting his prices’ in the 1990s.
Magdalene Odundo remembers a-n’s role in “helping to dispel the distinction made between art and craft in the use of clay” during the 1980s.
Chila Kumari Singh Burman discusses the development of her work during the “highly experimental, politically charged time” of the 1980s.
We speak to Maria Hatling about what inspired her a-n at 40 logo design, her painting practice and what she’s been up during a tumultuous 2020.