Q&A - a-n The Artists Information Company

The Hong Kong artist and self-taught animator who last year won the inaugural Camden Arts Centre Emerging Artist Prize discusses his new show at the venue, the narratives behind his work, and the benefits of living a nomadic existence.

A member of the influential Blk Art Group in the 1980s, Claudette Johnson’s exhibition ‘I Came To Dance’ at Modern Art Oxford features 30 works on paper by the artist, spanning four decades from the ’80s to the present day. Fisun Güner discusses her work then and now.

Paul Eastwood uses video, writing and drawing to conjure things into existence, framing art as a form of social production and cultural storytelling. Throughout last year he worked on the ambitious project Dyfodiaith, which saw him create a new hybrid language from the Brythonic vernacular. Richard Taylor finds out more.

With a practice that conducts ‘non-expert’ skilling-up to streamline execution, Nicola Ellis is able to engage with the problems and solutions of sculpture in relation to material choice and the subversion of industrial processes. Richard Taylor finds out more.

The artist Richard Billingham came to prominence in 1996 with the photo series Ray’s a Laugh, which documented the chaotic life of his alcoholic father and violent mother in a Black Country tower block. Now he’s made a feature film, Ray & Liz, about his early family life. Fisun Güner talks to him.

For her first show in England at Grand Union in Birmingham, Glasgow-based artist Lauren Gault has produced a new body of sculptural works in glass, metal and welded PVC plastic, complemented by a sound piece. Anneka French finds out more from the artist.

Trevor H. Smith’s project, ‘Walks With Other Artists’, is fuelled by a desire to share experience and excavate self identity. Through walking and conversations recorded in audio form the artist is realising a simpler, less conceptual approach to making accessible work. Richard Taylor finds out more.

Appau Jnr Boakye-Yiadom is one of three artists exhibiting in the Jerwood Solo Presentations 2019 exhibition at Jerwood Space, London. He tells Lydia Ashman how his installation draws on the nine colours featured in Hieronymus Bosch’s The Garden of Earthly Delights while also featuring footage from Russ Meyer’s sexploitation film, Up!

Leeds-based artist Simeon Barclay brings to bear in his work a 16-year career in manufacturing and an interest in how identity is shaped. Amelia Crouch discusses a practice that encompasses sculpture, film and installation.

By researching empty retail environments, lecture halls and male-dominated architecture Euphrosyne Andrews combines printmaking and drawing with installation and catalogue production, to explore human behaviour. Richard Taylor finds out more.

French-Moroccan artist Bouchra Khalili is known for her deeply researched film installations that explore discourses of resistance against a legacy of colonialism and imperialism. Fisun Güner discovers what motivates her films and why exhibiting in galleries resonates with the ancient Moroccan tradition of Al-Halqa – storytelling in a public space.

The Belgian artist who came to prominence in the early 2000s with her eerily unsettling horse sculptures takes a new direction with the large-scale works for her current show at Hauser & Wirth Somerset. Fisun Güner talks to her about animal pelts, moulding wax and J.M. Coetzee.

The Birmingham-based artist’s exhibition ‘Vanishing Point’ addresses the underrepresentation of black figures in Western history and presents a new group of works on paper alongside two paintings loaned from the National Gallery. Anneka French finds out more.

The Glasgow-based artist has had a high-profile 2018, with a survey show earlier in the year, a nomination for the Jarman Award, and a forthcoming solo exhibition at Dundee Contemporary Arts. Jessica Ramm talks to her about practice, ethics and new work that aims to counteract commercial and patriarchal depictions of love, pleasure and bodies.

Newcastle-based Mani Kambo uses religious rituals inspired by her Sikh upbringing in work that straddles film installation and performance, as well as screenings and cyanotype printing. Richard Taylor talks to the artist, who is one of 25 a-n members recently awarded a mentoring bursary.

For her show at Glasgow’s Transmission gallery, Scottish artist Rabiya Choudhry presents selected works from a six-year period including paintings, printed fabrics and a neon window sign in tribute to her dad. Jessica Ramm asks where her vibrant but troubled paintings come from and what it means to fly solo at this important artist-run space.

Artist Fiona MacDonald’s Feral Practice is an established mode of visual art production that acts as a conduit between human and non-human interaction. From the sonification of mushrooms to the filming of wood ants, her practice is wide ranging. Richard Taylor finds out more.

London-based artist Onyeka Igwe has mined colonial-era archives for three new films inspired by all-women protests against British rule in west Africa, currently showing together in the solo exhibition ‘No Dance, No Palaver’, in Hawick, Scotland. She discusses the spectre of the ‘colonial gaze’ and the ethics of archive research with Sonya Dyer.

The Newcastle-born artist’s current exhibition at Baltic in Gateshead consists of a labyrinthine sculptural installation that is visually arresting and teeming with narrative. Fisun Güner talks to the 2018 Hepworth Sculpture Prize nominee about making work that reflects life outside the art world’s “pool of middle-class light”.

From community projects to land work, Jeremy Hastings has used his many travels and itinerant lifestyle to share skills and learn from landscapes to create painting and photography. Richard Taylor finds out more.

Between October 2017 and April 2018 Sally Stenton spent time at Anglia Ruskin University, using its facilities and developing a conceptual work that connected the university’s art and science departments. Pippa Koszerek catches up with the artist to discuss her residency and its impact on her ongoing practice.

The Bradford-born artist’s current exhibition ‘The Sun Never Sets’ at Huddersfield Art Gallery draws on his childhood memories of living in Bangladesh while also exploring the impact and legacy of colonialism. Fellow painter Narbi Price asks the questions.