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My cousin introduced me to Iron Maiden when I was eight and I failed my art A level when I was eighteen.

I first visited Sweden when I was invited to participate in the Gothenburg Biennale in 2001.

Art Gene combines a residency programme with links with education and plays an active part in local regeneration.

Rodney Court is a proposed conversion of a Manchester tower block into live/work space for artists.

TactileBOSCH is a studio group committed to experimentation, presentation and collaboration.

Temporary studios can be a useful option for creating project-specific work.

Gasworks is part of an international network of independent studios around the globe.

CRATE successfully accessed economic development and regeneration funds to buy a building.

My work is mostly about perception: the way we look at the world, building up an image of the whole from different fragments.

Carey Young provides a guide to engaging with businesses and in business contexts.

Gordon Dalton talks to Danny Rolph about creative process, gallery representation and residencies at Delfina and the British School at Rome.

Richard Cox profiles the Bemis Center for Contemporary Arts, USA, and discusses his involvement as both resident artist and selector.

Jane Watt profiles Grizedale Arts, its residency programme and focus on research and process-based work that encourages interaction with the physical and social environment.

Mark Leahy looks at Ivan Smith’s intentions for his Fellowship in Sculpture at University of Derby, funded by the Henry Moore Foundation, and its role in his career development.

Mark Leahy on Rona Lee’s fellowship at the Department of Drama and Theatre Studies at Royal Holloway University, London where she was in receipt of an AHRC Fellowship in Creative and Performing Arts.

Brigid Howarth takes an in-depth look at the career path of sculptor and new-media artist Ben Coode-Adams, who makes his living from public and private commissions.

Angharad Pearce Jones explores the sprawling career of Tessa Fitzjohn, providing an insight into her successful work/life balance.

Nils Norman’s practice uses digital illustrations and architectural modelmaking to propose redevelopments of urban sites. Chris Hammonds finds out about his ‘multi-front economy’ based practice.

Paul Moss profiles Tanya Axford and discusses the strategies she has employed to maintain her practice.

Chris Hammonds looks into Scott Myles practice and discusses how he has worked on self-initiated projects, developed work through residencies, and benefitted from commercial representation.

Heather Rigg profiles Next Move, a national professional development scheme which aims to launch the careers of applied artists.

Since completing an MA in ceramics in 1998, I’ve worked with and in response to a diverse range of people, environments and themes.

Simon Morrissey cuts to the chase with Cornelia Parker and finds out how she has fought commercial pressures to follow her own artistic agenda.

Coming from Macedonia, a country where sixty to seventy percent of the land is forest, the immediacy of nature is a significant element of my working practice.

Continuing our series on the career development of well-established artists, writer Roy Exley meets Sonia Boyce to discuss how she has steered her career from British Home Stores shop assistant to celebrated artist.