Author: jaywp

Secundino Hernández: ‘As a painter you have to have the courage to not be afraid of change’

Secundino Hernández talks about his academic origins, the delicate equilibrium he seeks between accident and control, the quintessentially Spanish spirit of his painting, and his current exhibition, Paso, at Victoria Miro, London
Enrique Martínez Celaya: ‘The sense of past as memory always has force’

Enrique Martínez Celaya talks about his latest show, The Gypsy Camp, and his interest in nomadism and displacement, including his own experience of moving as a child from Cuba to Spain and then to the US, and explains his process…
Heywood and Condie: Head Land

Tony Heywood and Alison Condie’s ode to Hastings attempts to combine psychedelic sculpture with plants, but the jarring mixture of the natural and the artificial fails to capture the essence of this crazy coastal town
David Hepher – Grain of Concrete

Unusually for a landscape artist, David Hepher has for 40 years focused almost exclusively on the tower blocks of south London. In this retrospective, his large-scale triptychs evoke an almost elegiac sense of time and place
Ipek Duben: ‘I’m suggesting, with this project, that we should stop to listen’

Turkish artist Ipek Duben discusses her work THEY/ONLAR, a multiscreen video installation previously seen at SALT, Istanbul, and now showing for the first time in the UK
The Computer and Music: Coordinate Expansion

Cybernetic Serendipity: the computer and the arts, Studio International Special Issue, 1968
Brook Andrew: ‘I was challenged to unwind the histories that were told to me because I didn’t believe them’

History, identity and race dominate the Australian artist Brook Andrew’s work, as he challenges stereotypical ideas, uncovering neglected and often conflicted histories, particularly relating to the Indigenous people of his own country
Alexey Titarenko: ‘I wanted to capture my inner perception of the world around me’

An exhibition at the Naiya Alexander Gallery in New York brings together Alexey Titarenko’s photographs from four cities taken over 30 years. Here, he talks about how life in the Soviet Union shaped his work, being jailed by the KGB,…
Constable and Brighton

A pivotal period of John Constable’s life was spent in Brighton, where he would repeat three favourite walks, making sequential sketches, often intended as visual notes for larger paintings, but many quite exquisite as works in their own right
Deanna Petherbridge: ‘Drawing can be a million different things, but I think basically it’s a critical practice’

Using pen and ink as a metaphorical means of interrogating human interest, Deanna Petherbridge sees drawing as akin to writing, only perhaps more democratic
From Selfie to Self-Expression

Advertised as the world’s first exhibition dedicated to the history of the selfie, From Selfie to Self Expression explores our relationship – healthy or otherwise – with our own image
James Capper: the making of Six Step

We visited James Capper over the course of four months, first filming him in his London studio where he explained the initial concept for his sculpture Six Step and finally following him to its installation at the Venice Biennale in…
Maeve Brennan: The Drift

Premiering at the Chisenhale Gallery, Maeve Brennan’s film The Drift (2017) depicts restorative labour as the means to reconstruct Lebanon’s war-torn past and build a new future
Sam Cornish: ‘We started with this idea that all works would have to contain repetition, sequence and symmetry’

The co-curator of Kaleidoscope: Colour and Sequence in 1960s British Art discusses how this relatively unsung period in art history was characterised by more than just bright colours and glossy surfaces
Caroline Walker: ‘Who we perceive to be the maker of an image affects how we consume it’

Caroline Walker’s quietly charged, often luxurious, spaces frame half-told narratives that complicate traditional ideas of the woman as subject. She talks about her process and how feminism is a nuanced concept
Naeem Mohaiemen: It is Not Necessary to Understand Everything

Tensta Konsthall is showing Bangladeshi artist Naeem Mohaiemen’s 2011 film, United Red Army, about the hijacking of a Japanese Airlines flight in 1977, along with two related vitrine displays
Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask

Defying history, this exhibition reveals crucial parallels between the surrealist Claude Cahun and contemporary artist Gillian Wearing, from the birth to the death of their manifold identities
Norman Hyams: ‘I very much believe in losing a painting and finding it’

Norman Hyams talked to Studio International about his painting process before the opening of his first solo show for 10 years, Ethos at The Hannah Barry Gallery in south London
Drawing Biennial 2017

The eighth edition of the Drawing Biennial, which includes more than 200 works on paper, prompts a reflection both on the status of drawing today and the world around us
Marsden Hartley’s Maine

Capping a series of pioneering shows at the Met Breuer that, force majeure, will serve as the new wing of the Metropolitan Museum of Art, this insightful appraisal of Marsden Hartley as “the Painter from Maine” places the Yankee for…
After Industry

This exhibition of works by Christer Karlstad, Willy Verginer and Jason DeMarte, fittingly staged in a former firehouse in Detroit’s Eastern Market district, explores the post-industrial condition
Jean Painlevé

This is the first UK solo show for fascinating artist Jean Painlevé, who chronicled key moments in the lives of seahorses, snails and other marine animals, using novel technologies to reach microscopic scales
Architecture as Metaphor

A mix of sculpture, tapestry, film, photography, painting and collage by 33 artists whose work refers to, or manipulates, the built environment, this exhibition heightens awareness of one’s own physical presence and the intensity – and complexity – of our…
Amelie von Wulffen: The Misjudged Bimpfi

For her first solo exhibition in the UK, Amelie von Wulffen deals with themes of guilt, marginalisation, sexual fantasy and emotional trauma through an aesthetic influenced by historical genre painters – and a talking mushroom