My work explores the physicality of exchanges between people, objects and material. In particular I investigate the hidden infrastructure of the interaction between these things.
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My work explores the physicality of exchanges between people, objects and material. In particular I investigate the hidden infrastructure of the interaction between these things.
Read moreMy work is about my grandmother. She is 90 years old and suffers from Alzheimer’s disease.
Read moreGenetic Moo is a digital art group. We create immersive interactive experiences which encourage experimentation and play.
Read moreI still use the same approach to my work: I get an idea, think of the title and then make the work. So not much has changed since 1964.
Read moreVanishing Point, a long term work-in-progress, has involved sculpture, installation, photography, video and collaboration with three composers…
Read moreI use a variety of different materials – mostly wood, but also stone, clay, and paper – to explore the concept of movement and animation in non-kinetic sculpture.
Read moreI love colour and use it to structure composition. Drawing is as important. My subjects are taken from daily life then mediated in my imagination.
Read moreOn and off human beings become aware of a constant juggling of mysterious inner forces, some palpable and loud, others hidden, yet all potent and powerful. I am drawn to investigate what is not there in full view.
Read moreI make two and three dimensional drawings and paintings exploring spontaneous mark making, experimental use of prefabricated materials and ready-made forms.
Read moreMy practice represents the relationship between nature, technology and even the sublime – as upon peering into another world with bold straight line structures which contrast curves and fluidity, the voids and chasms of space alluding to universes.
Read moreAs an artist, my main concern is challenging people to see the possibilities in beauty through pre-used building materials where others see functionality.
Read moreThe landscape contains many hidden ‘secrets’ ; ancient field systems identified through aerial photography, droves and tracks reinforced through thousands of years of constant use, or the more transient ‘memories’ of successive lines of a ploughed field.
Read moreGillian Ingham was educated at Ravensbourne College of Art (BA) and Chelsea School of Art (MA). She was elected to the London Group in 1981 and is currently Vice President. From 1990-2012 she was Head of Art at Kensington and Chelsea College.
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