The concepts behind Katie Paterson’s practice take her all around the globe, transforming her studio from Berlin to nomadic at times.
For her work Future Library, she made her way up north to Oslo where a forest has been planted ready to supply the paper for 100 new texts to be printed in 100 years time, in 2114.
A secretive artwork with an uncertain future audience who will receive what could be a beautiful gift from the past.
‘I paint one day a week. The rest of the time is mental preparation. I do not leave the studio.’
TateShots visited Luc Tuymans at his Studio in his home city of Antwerp. He discusses the process and concepts behind his work.
Meticulously and painstakingly created over months, it is still the flaws and imperfections in her work that intrigue the artist Jessica Harrison. Her work, rooted in the performance of making and viewing the sculpture, addresses the incorporation of the viewer’s body into the process of making.
Before its physical materialisation, Daniel Hughes’ work begins on screen. Layering, collaging and sketching on Photoshop, Hughes uses images and content gathered from his surrounding environment.
His current project, a series called ‘Territorial Pissings’, plays with the displacement of gestural marks the artist has captured on his phone around London. From graffiti tags to paint spilt on roads, he has begun to create abstract paintings that layer and confuse these ‘silent’ gestures.
With such time consuming and repetitive work processes, Hess spends hours at a time in her studio.
The image above shows us her work on Zebras, Blanks and Blobs. Patiently spending time with each and every image, Hess describes it almost like a playing a game; challenging at first but the more you look the easier it becomes to see what you’re looking for.
Although Halperin’s work spreads far across the globe in place and time, her practice has a steady home in the form of her studio at the bottom of her garden.