Jane Adam
Jane Adam is a successful jewellery designer with an international reputation. Polly Harknett discusses her career and studio at Cockpit Arts and her wider role in the craft community.
Jane Adam is a successful jewellery designer with an international reputation. Polly Harknett discusses her career and studio at Cockpit Arts and her wider role in the craft community.
Frances Lord profiles Ismini Samanidou who designs woven fabrics for interior spaces, ranging from one-off pieces to limited edition textiles.
Penny Jones talks to Deirdre Nelson about her textile-based work, often made in response to museum collections or site histories and informed by local communities, and residencies in the Scottish Highlands and Australia.
Cynthia Cousens explores the practice of weave-designer Eleanor Pritchard, discussing exhibitions, commissions and Crafts Council support.
Polly Harknett on the practice of emerging jeweller Lina Peterson, including creative/work balance and exploration of markets for her work.
Frances Lord profiles Linda Florence, who creates wallpapers, flooring surfaces and interior textiles for domestic and commercial interiors, as well as temporary installations in transient materials.
Penny Jones profiles Clare Twomey, who makes large-scale ceramic installations for galleries and museums often in collaboration with the UK ceramics industry.
Peter Freeman makes light sculptures and installations that articulate public spaces. Kate Stoddart explores his practice.
Cynthia Cousens profiles Anne Brodie, who uses film, photography and glass, discussing her career development and fellowship to Antarctica in 2006/7.
Contents include: Artists respond to call for commission proposal fees, open studio events previewed, digital art and new media artforms reviewed. New Collaborative relationships series on artists and collaborators this issue curators give insights into their practice. Work by […]
Showcase of the best art and design graduate shows. Includes updates from six of last year’s bloggers and from four graduating artists that featured in a-n’s Degree show supplement 1998 publication who review their progress. Downloadable pdf version [size 4.1MB]. […]
Michael Brennand-Wood, Flower Head Narcissistic Butterfly, 60x60x40cm, 2005.
Kate Stoddart profiles Andrea Walsh, discussing the development of her practice in ceramics and glass, work/life balance and the outcomes of a residency at Cove Park.
Manick Govinda talks to Lynette Yiadom-Boakye about her practice and the impact of awards from deciBel and The Arts Foundation.
Anji Archer, who featured in a-ns Degree show supplement 98 publication, reflects on her life and the part art has played in it over the past ten years.
Hannah Pham, a graduate who featured in a-ns Degree show supplement 98 publication talks about coming full circle over the past decade and spending time in Japan.
Open studio events are an insight into how artists make work, giving a very different perspective from seeing finished works in a gallery setting or a commissioned piece in a public space. Here we take a look at some of the studios opening their doors over the next few months.
Our guide to all the best degree shows, 2008 Degrees with this issue, features practice updates from last years student bloggers1 revealing learning curves, perseverance and collaborative ventures.
Kristina Johansen reports on her multiple visits to Glasgow International 2008.
Helen Knowles, who featured in a-n’s Degree show supplement 98 publication, reviews her progress over the past decade and discusses her current practice.
Dana Hargrove, a graduate who featured in a-ns Degree show supplement 98 publication, discusses her current practice including a recent residency in South Africa.
To preface a new ongoing series exploring relationships between artists and their collaborators, we asked some of today’s most interesting curators for insights into their practices.
Joan Thompson on mental health services and further education.
I am currently undertaking a research project called Situating everyday creativity in Liverpool 2008.
I am writing to lend support to the ideas expressed in the letter How do other artists feel about unpaid public art competitions? (a-n Magazine, April).