Profile - Page 20 of 21 - a-n The Artists Information Company

Originally I was obsessed with painting from my imagination using the figure as the dominant subject.

My practice combines studio-based and commissioned work with teaching at Chelsea College of Art & Design.

Curator and writer Michael Stanley talks to Jo Lansley and Helen Bendon about their career development.

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.

I like to make extraordinary things derived from the ordinary.

Richard Billingham took time out from preparations for the Turner Prize to discuss how he moved from an aspiring cash-strapped artist living in the heart of the Black Country to a celebrated artist of international acclaim.

I usually make a distinction between working collaboratively, as one third of Brass Art, and the work I make alone.

Curiosity for transformation is the driving force behind my work.

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.

My practice is concerned with social and political issues; the visual language I use resides within a traditional aesthetic of truth and beauty.

As an artist-photographer my work is broad and covers many genres of photographic imagery.

My art practice is focused on the process of making, and with my involvement in that process.

The concept of location has always been central to my practice – as subject matter, a source of materials, and as a context for the production and presentation of my work.

My past projects led me to reflect on the fact that commissions were affecting the way I made work, I felt that I needed to work without deadlines or commission agendas.

I mostly work collaboratively, which I think suits me.

Physics and maths, as much as art, have always served as subjects that speak my own language.

My creative output ranges from figurative sculpture to furniture design, and I enjoy being more than just one kind of artist.

Laurence Ward, artist-in-residence for the Community Arts Project (CAP), Darlington shares his experience of working with adults with learning disabilities and how this has enhanced his own practice.

I have been painting for over fifteen years, and I always feel there is something new around the corner, waiting to be discovered.

My practice is in lens-based arts.

There is no doubt that glass changes the space that surrounds us every day.

My work explores representations of physicality and the relationship between physical and virtual space.

Kira O’Reilly is the latest in a long line of female practitioners to investigate issues surrounding representation of the body and gender via that most direct tool of the artist’s palette: performance art. Below she writes about the principle concerns of her practice, whilst also assessing suitable contexts for the mediation of such work.