Profile - Page 16 of 21 - a-n The Artists Information Company

(i) Dream one
The sloth creature is on a table and I am looking at its arse.

Whilst sitting in my parent’s garden in the summer of 1996, I became mesmerised by the patterns created on the table by the light filtering through my father’s pint jug of beer.

The figure in motion is central to my practice.

Brigid Howarth talks to an art buyer who has been collecting since the age of nineteen.

Working with live performance, video, text and object, my practice is an investigation of liveness, mediation, desire and duration.

Brigid Howarth profiles The Shipley Art Gallery, which holds a public collection of contemporary craft.

Brigid Howarth gives a rare insight into one art buyer’s collection and discovers the favorite haunts for snapping up the next big thing.

Brigid Howarth talks to Deutsch Bank curator Mary Findlay about the sourcing and buying of artworks for the largest corporate art collection in the world.

When I learnt I had a place on a residency at Phoenix Gallery, during the Brighton festival I was delighted.

What do I do?

In the late seventies my parents took me to see Concorde at a local airshow, which I missed because I didn’t manage to look up in response to the supersonic audio.

Lewis Carroll’s Alice books have been a source of inspiration since my first experience of them as a child.

When I moved to the Essex coast from London in 1999, I began experimenting with digital techniques while I was refurbishing my studio.

I work with collections of thoughts, memories and snippets taken from journeys and observations – some everyday and others more fantastical – and harness and order these responses and experiences through a variety of forms.

Since I left art school in 1990, I have been creating work across art forms and for exhibitions.

Following graduation from the Royal College of Art, I undertook many major public commissions for clients including British Rail, British Gas and Unilever.

Fairly fresh out of college I received a bursary through the Crafts Council’s Next Move scheme.

At college I made sculpture and used photography to record what I was making.

Three years ago I found myself following my partner to Zanzibar, East Africa.

Jeremy Akerman meets Chad McCail to discuss his work and recent residency at Baltic that culminated in a futuristic world of zombies, robots and wealthy parasites.

Lee Corner interviews Graham Fagen about his commission in Kosovo for the Imperial War Museum.

I work directly with wildlife and environments that surround me; my work comes from a place, rather than being about a place.

I make site- and project-specific architectural glass that I prefer to create through close collaboration with architectural design teams and the community.

Maria Wilson shares her experience of working at Maesgwyn Special School as part of Opt for Art, a project funded by the Arts Council of Wales.

“We may think we are going to [objects] for knowledge about the past, but it is the knowledge we bring to them that makes them historically significant, transforming a more or less chance residue into a precious icon.” Raphael Samuel, Theatres of Memory