Peter Dreher: ‘In my pictures I underline the act of seeing’
German artist Peter Dreher recounts the trauma of childhood under the Nazi regime, his autonomy from...
James Bridle: ‘There is a huge demand to humanise the technological view...
James Bridle talks about his current show at the Nome Gallery, Berlin, which centres around the self...
Eddie Martinez: 'I just want people to interpret the work how they want'
Eddie Martinez talks about his latest show, Cowboy Town, at Timothy Taylor Gallery in London, the in...
Linda Kitson: [Mine is] ‘a reactive sort of work – it’s a reaction t...
Linda Kitson talks about the works in Drawings and Projects, her current exhibition at House of Illu...
Ruth Maclennan: ‘I realised that global warming was happening, and asked...
Visual artist Ruth Maclennan talks about what art can do in the face of climate change, her films of...
Secundino Hernández: ‘As a painter you have to have the courage to not ...
Secundino Hernández talks about his academic origins, the delicate equilibrium he seeks between acc...
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 a...
Ipek Duben: ‘I’m suggesting, with this project, that we should stop to...
Turkish artist Ipek Duben discusses her work THEY/ONLAR, a multiscreen video installation previously...
Brook Andrew: ‘I was challenged to unwind the histories that were told t...
History, identity and race dominate the Australian artist Brook Andrew’s work, as he challenges st...
Alexey Titarenko: ‘I wanted to capture my inner perception of the world ...
An exhibition at the Naiya Alexander Gallery in New York brings together Alexey Titarenko’s photog...
Deanna Petherbridge: ‘Drawing can be a million different things, but I t...
Using pen and ink as a metaphorical means of interrogating human interest, Deanna Petherbridge sees ...
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...
Sam Cornish: ‘We started with this idea that all works would have to con...
The co-curator of Kaleidoscope: Colour and Sequence in 1960s British Art discusses how this relative...
Caroline Walker: ‘Who we perceive to be the maker of an image affects ho...
Caroline Walker’s quietly charged, often luxurious, spaces frame half-told narratives that complic...
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 fir...
Saad Qureshi: ‘You can’t really pick your medium. Your medium picks yo...
Saad Qureshi talks about his seduction by charcoal, his fear of being exposed, and his creation of m...
Oliver Beer – interview: ‘We are very fortunate to live in a time when...
Oliver Beer uses sound, film and sculpture to explore the physical properties and emotional value of...
Helen Johnson: ‘I wanted to resist presenting some sort of unified image...
Australian artist Helen Johnson’s new exhibition at the ICA in London re-examines Britain’s colo...
Adrienne Elise Tarver: ‘I think about intrusion and the transition from ...
Adrienne Elise Tarver talks about issues of voyeurism, privacy and identity, and her interest in per...
İ Ata Doğruel: ‘I want to destroy the limits between life and art’
Pushing his physical and mental boundaries to the limit, Doğruel seeks to make performances from hi...
Serge Attukwei Clottey: ‘My body is part of my work’s mystery’
Using his body as an object, Ghanaian artist Serge Attukwei Clottey works with international media ...
Anna Freeman Bentley: ‘The work is successful when there’s a question ...
Freeman Bentley’s paintings are visual and psychosocial mazes that tease layers of meaning from ar...
When the Heavens Meet the Earth
Showcasing works from Robert Devereux’s Sina Jina African art collection, this small but dense exh...
Chto Delat: ‘Before you can recognise the light, you have to recognise t...
Dmitry Vilensky and Olga Egorova of the Russian collective Chto Delat talk about their latest exhibi...
Toshiyuki Inoko: ‘We are exploring the ways in which the relationships b...
The founder of teamLab, an interdisciplinary group of ‘ultra-technologists’, explains how digita...
Tara Donovan: ‘I’m interested in exploring the moment where the condit...
The artist explains that, although her latest work, Compositions (Cards), may seem very different fr...
![Yuko Mohri talking to Studio International before the opening of her exhibition Moré Moré [Leaky] at White Rainbow gallery, London, February 2017. Photograph: Martin Kennedy.](/images/articles/m/mohri-yuko-2017/smallpix/yuko-mohri-watch-640-300.jpg)
Yuko Mohri: 'I’m very curious about organic ecosystems'
Mohri talked to Studio International before the opening of her exhibition Moré Moré [Leaky] and ex...
Vera Möller: ‘My father thought going to art school was like wanting to...
The German-born artist explains why she first studied biology rather than art, how her scientific ba...
Thomas Hirschhorn: ‘The Gramsci Monument, like all monuments, is made fo...
The artist talks about his commitment to art in public spaces, describes how the Gramsci Monument in...
Laura Oldfield Ford: ‘I map ruptures, such as the London riots’
Oldfield Ford spends a lot of time walking through the capital’s streets and, from the fanzine she...
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