ART REVIEWS
In our latest podcast episode, British painter Eleanor Johnson talks about how winning the Young Artist Award from the Society for Women Artists was a significant moment in her career. She also tells how she practises witchcraft, has a vivid dream life, has a love of the Baroque, champions the male nude and is influenced by Celtic mythology.
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Jason deCaires Taylor is a British sculptor who has created numerous spectacular underwater sculpture parks and museums around the world. His first one off the Caribbean island of Grenada has been listed as one of the top 25 Wonders of the World by National Geographic. In our latest podcast, he talks about how his idea developed, how his concrete installations develop into artificial reefs that foster the growth of marine life, how he has married his artistry with marine conservation and diving skills and how his series of sculptures offer a commentary on our relationship with the environment.
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In our latest podcast episode, Russian-born America-based photographer Anastasia Samoylova talks about her studies in Russia, her move to America, the influence of Russian constructivism in her early work and how a move to Florida resulted in an ongoing project highlighting the dichotomy between a state that advertises the good life while experiencing the gradual but corrosive effect of climate change.
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In our latest podcast episode, one of the UK’s most eminent sculptors Nigel Hall talks about how art is in his blood, how he subverted sculptural tradition at art school, how places and landscapes such as the Mojave desert influence his art, his love of geometric shapes, void and shadow, and how memory and loss are recurrent themes in his work.
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In our latest podcast episode, ceramicist Carol McNicoll talks about her early beginnings making textiles for repertory theatre, how she was able to subvert the traditional idea of ceramics while at the Royal Academy of Art, how decoration, functionality and playfulness are essential features of her work, and how the 2003 Iraq War led to a more political and satirical aspect to her oeuvre.
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In our latest podcast, Yorkshire sculptor Jamie Frost talks about what persuaded him to become an artist, how he fell in love with wood as a sculptural medium, the sensitivity with which he draws and sculpts, how a serious illness brought a sense of vulnerability and his collaboration with live models to create poses and gestures that form the basis of his works..
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In our latest podcast, Sam Gilbey talks about how he echoed his hero David Hockney in moving from conventional fine art to digital painting. He talks about the advantages of digital, his successful work on popular culture artwork such as posters, book covers, podcast designs, fan art and film publicity, the way he composes his publicity art, his fine art parodies and the advice he’d give to young digital painters and designers.
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Glen Baxter talks about the inspirations for his absurdist drawings whose captions offer incongruous intellectual observations on art and philosophy. He talks about his early obsession with comics and cowboys, how he was captivated by Surrealism at art school, how America and Europe first took to his brand of humour, his struggle as a stammerer and how lockdown has been a fertile ground for his oeuvre
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Jann Haworth, one of the few women associated with the Pop Art movement, talks about growing up in Hollywood, how she found her move to England in 1962 “electrifying”, how and why she opted for soft sculpture while studying at the Slade, her contribution to the cover of the Beatles’ Sgt Pepper’s Lonely Hearts Club Band album designed with her then husband Peter Blake, her time with the Brotherhood of Ruralists and her mural collaborations in Salt Lake City, Utah.
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In our latest podcast episode, New Zealand artist Judy Millar talks about the dynamic abstract action paintings that she makes in her studio at a remote location outside Auckland, her exhibit at the 2009 prestigious Venice Biennale, her dislike of the word “gestural” as a description of her style, her “out of body” experiences when viewing certain works and her “site-antagonistic” public sculptures.
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