Category: Q&A

Q&A with Alice Gur-Arie
Exhibiting at the Curious Duke Gallery
1st Dec 2016 – 28th Jan 2017


Alice began her career as a copywriter and graphic designer, eventually responsible for positioning global brands, and developing and executing their marketing and communication strategies.
Returning to her creative roots several years ago as an artist/photographer, Alice has produced five exhibitions, including The Iceland Trilogy, held at the Embassy of Iceland in London, and Black, White and Red held in Nice, France. Continue reading “Q&A with Alice Gur-Arie
Exhibiting at the Curious Duke Gallery
1st Dec 2016 – 28th Jan 2017″

Art Circus Spotlight
Lynne Wixon’s Architecture on the Beach


My paintings are essentially representational but I also want them to take the viewer further. I want the paintings to present more than an image of a familiar place or object but also to take you to a time you once knew or feel reminded of. I like the paintings to create a narrative. They are all about man made structures and mans interaction with them but I remove all human representations to allow the viewer to find their own narrative.

This is the East arm of the entrance to Whitby harbour (featured above) I have a particular soft spot for this painting as I live just down the road from Whitby. It was also important to paint it at this time because its sister pier (west pier) had had its connecting bridge closed and the council were not planning to repair it. This would have meant that both piers would be completely unaccessable. Fortunately there was a successful local campaign and it was repaired. This painting therefore emphasises the lonely detached nature of the East pier with its boney remnants of what once linked it to the land. It now looks as though it might bob off into the North sea. Continue reading “Art Circus Spotlight
Lynne Wixon’s Architecture on the Beach”

Q&A with Hyunjeong Lim


Hyunjeong Lim, born in Busan, South Korea, 1987. She has studied at Seoul National University, South Korea and Central Saint Martins, London. She currently lives in Busan.

Do you come from a creative family?

Actually, I’m the first and only artist from my family, both father’s and mother’s side. Though my parents are very supportive of me.

How did art school help, if at all, in the development of your practice?

I graduated Busan Art High school in my hometown, where I earned most of my drawing and painting skills that I use for my current practice. Back then, I didn’t think that I would become an artist but I could improve a standard of draftsmanship under the system of entering Korean art universities. After, I studied at the Seoul National University then at the Central Saint Martins, experiencing the art world bit by bit.

How did you find studying in London?

Although surviving in London was extremely expensive, spending part of my life in London as a student and an artist was certainly a the most valuable thing I’ve ever done. I just had so much fun by visiting all kinds of museums and art galleries in London. Becoming a museum goer has enormously inspired my practice and directly led me to research old western masters’ drawings and paintings. Continue reading “Q&A with Hyunjeong Lim”

Q&A with Christopher Gee


How did your time at Camberwell help in the development of your work?

I didn’t really go into college much to be honest and preferred working from my room or exploring London. Although I did meet a life long friend there who still influences me greatly.

The works appears to take inspiration from horror films such as Village of the Damned The Brood and The Innocents. Is this the case and if so could you talk about your interest in these films?

No this isn’t the case. I don’t really watch horror films. I have seen The Innocents and enjoyed it very much. I was interested in the introverted characters of the two children. I like the ambiguities in the film and the general disquieting atmosphere. Continue reading “Q&A with Christopher Gee”

Q&A with Vasilis Avramidis


Taking care of nature and looking after gardens are often mentioned with your work. Are you a gardener?

No. I reference the life and routine of gardeners in a group of works. The gardening process seems to be somewhere close to the process of life sometimes. And this was a starting point of thought, which developed into a painting concept.

On average, how long do you spend on a piece?

Usually it takes about one month if everything goes well, but a painting may be re-worked on after a while if necessary.

How important to you is selling your work for you to make more work?

All artists are always making new work, regardless. Exhibiting is important, because it is the only way that your work can relate to other people. When a painting is acquired by a collector, it’s a way to know it’s appreciated, it’s a great way to support the practice of an emerging artist, and it’s equally positive for the artwork itself, as in this way it takes an independent course. Continue reading “Q&A with Vasilis Avramidis”

Q&A with Irene Godfrey

L0008805Irene Godfrey was born in Co. Durham, near Blanchland, in 1955. She trained at the Cass School of Art, London Metropolitan University (BA Fine Art, 2012). Upon graduation she won awards in both the Owen Rowley Prize and the Annual University Vice Chancellor’s Purchase Prize.

Do you come from a creative family?

My father was a mining engineer. He used his creativity in problem solving.

You hold a Graduate Certificate in Ecology and Environment, how does this influence your painting?

The knowledge gained from my environmental studies has made me more aware of the interconnectedness of all things – the idea that symbiotic relationships between organisms are a primary force in evolution and the maintenance of ecosystems. I try to capture this in my paintings. Continue reading “Q&A with Irene Godfrey”

Q&A with James Elliott Dixon


Where was ‘Black pool’ (Shown above) taken and what happened there?

‘Black Pool’ is a small harbour on the East Lothian coast. I’d seen it and noted that when low tide coincided with low evening light, water was replaced by shadow. I see this as a key picture as it uses shadow, landscape and light to create a transition from one void to another.

Do you have the scenes in mind and then seek them out to photograph?

I tend to set some parameters of what I’m looking for, for instance certain types of shadow and light, geometry or scale, Then I choose locations as a stage for these. Continue reading “Q&A with James Elliott Dixon”

Nina Fowler’s ‘The Lure of Collapse’
On Show at the Galerie Dukan, Germany


Nina Fowler will be exhibitng a solo show of new drawings and sculptures to celebrate the opening of Galerie Dukan‘s new exhibition space in Leipzig, Germany. We caught up with Nina to find out about the new work and how it portrays the price of fame and the consequences of our dreams.

Where does the title ‘The Lure of Collapse’ comes from?

I wanted to think of a title that threaded all the work together as this exhibition has a spread of drawings and sculptures from various different series. A novel I read about an artist having a nervous breakdown inspired the title. I was thinking about how often it seems easier to give up rather than to keep going. At the same time I wanted the title to refer to our interest in the scandals that surround the rich and famous – the sadistic way in which we follow a celebrity’s fall from grace through the eyes of the media. For example, the largest work in the exhibition “Jean (Knockers III)” portrays the film actress Jean Harlow being escorted from the funeral of her husband. He committed suicide soon after their wedding as he felt he could not live up to the expectations of being married to a superstar. She was devastated and once again had to pay a grave cost for her fame. The brass sculptures hanging heavily from her chest represent this struggle between the idol and her devotees.

Continue reading “Nina Fowler’s ‘The Lure of Collapse’
On Show at the Galerie Dukan, Germany”

Q&A with Haichuan Huang


How did art school help in the development of your practice?

There is a relatively independent environment in art schools where I can concentrate on my art work without much social interference. Moreover, communication with teachers and other students definitely helps me to improve on my work and ideas, as well as to understand some of the art techniques and materials which I have not tried before. Experience in art schools contributes to my artistic development.

It looks like you work changed quite dramatically since 2012 and 2013, what inspired this body of work?

In the years 2012-2013, my art has entered a new phase where I began to form my own creative style, and my artistic behavior began to become more targeted. My works were greatly affected by POP art and contemporary illustration, which is why the popular style seen in my works is closely related to public appreciation of aesthetics. Continue reading “Q&A with Haichuan Huang”

Q&A with Gina Soden


What first drew you to photographing these abandoned places?

My first “encounter” was when I was researching a location for a model photoshoot about four years ago. I was procrastinating and reading the local newspaper which detailed information about a local psychiatric hospital. I was suddenly very curious and couldn’t wait to get there. I went the next day, having no idea of what to expect and I was immediately hooked. Sneaking in, I walked down long corridors, seeing the main hall where the patients used to be entertained, finding several wards with patients suitcases and clothes and beds (with sheets still on) left behind. I saw a dentist chair with teeth impressions left behind, the hairdressers, pianos, store cupboards, and beautiful architectural spaces and light. I couldn’t get enough, the stories, the textures, the beautiful scenes. I subsequently returned four times that same week, twice for a photoshoot, and twice to satisfy my own curiosity, the place was huge and I wanted to see it all! I will never forget that place, it changed my life forever really. Continue reading “Q&A with Gina Soden”