Art360 Artists
Since 2016 over 45 artists and artists’ estates have benefitted from the Art360 Programme. Our first programme
Shelagh Atkinson
Landscapes of the mind: Series of screenprints on paper, 56 x 76cm, 2015 © Shelagh Atkinson. Photograph: Michael Wolchover.
Shelagh Atkinson is an artist who makes prints, paintings and drawings. She has exhibited extensively nationally and internationally, recently at the Kunming International Print Exhibition China and a recent entry to Who’s Who in Art, Morvern Press 35th edition. The urban and natural environments which she inhabits feed her process. Her use of colour reflects the abundance of the seeing, the experience, the felt force in these environments. She has a created a number of commissioned portrait pieces, Sally Beamish and Simon McBurney, to name a few, and works from her studio in Edinburgh.
Claire Barclay
Claire Barclay (born 1968) is a Scottish artist. Her artistic practice uses a number of traditional mediums that include installation, sculpture and printmaking, but it also expands to encapsulate a diverse array of craft techniques. Central to her practice is a sustained exploration of materials and space.
"While there is always a concept behind the work its actual form comes out of the 'play' with materials and my response to them.
David Batchelor
David Batchelor, Art360 Documentary Film by David Bickerstaff, 2017, atomictv.com @atomictv
David Batchelor creates sculptural installations, photographs and paintings primarily concerned with colour and urbanism. Salvaged fluorescent plastic objects and cheap household products are carefully brought together to create 'vehicles of colour'.
Batchelor was born in Dundee, Scotland, and studied Fine Art at Nottingham Trent Polytechnic and the University of Birmingham. He has exhibited widely in the UK, Europe, USA and Latin America. In addition to his work as an artist, Batchelor has published several books on colour and colour theory.
Richard Billingham
Richard Billingham is a British photographer and video artist living and working in South Wales and concerned largely with human relationships and the landscape.
He is known especially for his candid photographs and film that explore his family life. His work presents a stark, painful and often humorous documentation of the emotional relationships between his subjects. The underlying need for closeness and the pain of revelations that such scrutiny can entail are central to Billingham's practice.
Billingham graduated from the University of Sunderland in 1994 and had his first group exhibition ‘Who's Looking at the Family?’ at the Barbican Art Gallery, London, 1994. His recent solo shows include Panorama (Annely Juda Fine Art, London, 2015 and Towner Gallery, Eastbourne, 2015) and Ray (Glynn Vivian Gallery, Swansea 2015).
Bettina Buck
Born in Cologne in 1974, Bettina Buck studied at the Academy of Media Arts, Cologne before completing an MA in Fine Art at Goldsmiths, University of London.
Working with assemblage, collage and reconfigurations of existing, mundane, often found materials; Buck’s work regularly reclaims industrial or industrially produced components. Materials and objects with traces of an alternative history and existence - carpet, found posters, foam, latex, plastic - are selected, re-imagined and recontextualised to explore the limits of form, question notions of perception and re-interpret sculptural techniques and their art historical lineage. An active presence in much of the work are questions of duration and collapse, chance and transformation.
https://www.bettinabuck.de/
Michelle Charles, Art360 Documentary Film by David Bickerstaff, 2017, atomictv.com @atomictv
Michelle Charles
Michelle Charles moved back to London in 2001, having lived and worked in the United States for the previous two decades. Since her return, she has established a London studio and had significant solo exhibitions including Kettles Yard and the Museum of the Royal Pharmaceutical Society.
Guy Brett, in a catalogue essay for Kettles Yard, notes that Michelle Charles has painted glasses or bottles countless times for over two decades, and explains that,
what actually happens is that the glasses or bottles become light-traps, or light-vessels. Charles has not yet finished exploring all the possible inflections and subtle nuances that a single, simple object can be invested with… She has shown and continues to show us the extraordinary freedom and inventiveness of the brush stroke that issues from and returns to a single form.” He points out that in order “to render the transparent she must make use of a material that is opaque. How the opaque is transformed into transparency is one of the sources of the magic in her art. The change is not in the material, which remains dense, but occurs in our understanding, our perception.
Observing her on-going series of paintings of single glasses and bottles on book covers, Brett comments that,
the books are faded testimonies of intellectual effort… Many are superannuated from libraries, retired from an active life, and Charles’ glasses and bottles, in the very freshness of their brushstrokes seem to re-nourish the dwindled intellectual energies.
The American curator and critic, Henry Geldzahler, when he first was introduced to Charles’s work in the early 1990’s, said that he found her work to be,
beautiful in its tension between the ancient (glass vessels, for instance) and the absolutely contemporary. In her work she incorporates palimpsestic drawing and re-drawing in her search for the true nominal shape of things.
Her work has been exhibited internationally, including exhibitions with The New Museum, NY; The Neuberger Museum, Purchase, NY; The Weatherspoon Museum Of Art, North Carolina; New York galleries Anthony Grant, and John Weber Gallery; Mobile Home Gallery, London; The Harris Museum and Art Gallery, Preston UK, the first Lodz Biennale in Poland; The Museum of the Royal Pharmaceutical Society; and Kettles Yard, Cambridge, UK.
Public collections holding Charles’ work include: The Brooklyn Museum, British Museum, the Wellcome Trust, The National Museum of Art Washington DC, The Addison Gallery of American Art, Andover MA, The Jerome Foundation, Minneapolis, MN. The Contemporary Arts Society, London, and The Museum of the Royal Pharmaceutical Society, London.
She has received numerous awards for her work, most recently a third award from the Pollock Krasner Foundation (2015-2016), a Bryan Robertson Award (2011), and an Arts Council England Award (2008).
Monster Chetwynd
Monster Chetwynd (b. 1973, London) lives and works in Glasgow. Chetwynd graduated from the Royal College of Art with an MA in painting (2004), following a BA in Fine Art at the Slade School of Art (2000) and a BA in Social Anthropology and History at UCL (1995) (all London). Known for her bric-a-brac style performance pieces, featuring handmade costumes, props and sets, Chetwynd describes her work as ‘impatiently made’, often re-using cheap materials that are easy to process and to use by the many performers she invites to participate, emphasizing the notion of collective development that informs much of the artist’s work.
Maria Chevska
Born in London in 1948, Maria Chevska was a Professor of Fine Art at the Ruskin School, University of Oxford from 1991 to 2016.
Chevska’s practice incorporates painting, sculpture, and installation, and often engages specifically with literature, and writers. Works emerge through the interaction of idea, material, and process.
Significant projects since the early 1990s, including solo exhibitions of paintings, and installations, have taken place in the UK, Ireland, Finland, Germany, France, Italy, Poland, and the United States.
A huge break in my work came in about 1990…when I decided that everything didn’t have to be in the same frame. I was always worried about that, that there was this sort of masterwork…
mariachevska.com