I make different forms of texts using simple but often ambiguous words and phrases, mostly through printmaking and drawing. The written word holds many paradoxes, not least those of absence and presence. There are gaps and overlaps between reading and viewing, text and image, the hand and the machine. I try to create breathing spaces in which we can pause and look back at language. Whole narratives can be compressed into a single word or familiar phrase. The drawings' resemblance to plans and blueprints reflects the strange provisionality of written language; the things about which we write are always elsewhere. I work only with Times New Roman (the default font) and my own handwriting to minimise questions of typography.

Although often associated with both Pop Art and Abstract Expressionism, Jim Dine did not identify with a specific movement, producing a vast oeuvre of paintings, drawings, works on paper, sculpture, poetry, and performances... more

At present, I continue with my interest in the human figure and the attributes that surround it. These attributes reflect something about the being without giving a specific narrative. Ideas about life and death, sensuality, sexuality, nature, experiences in the realm of dreams, psyche and spirit are my ongoing topic. A lot of inspiration for these pieces stem from my ongoing love for the art of the European Masters, Early American Folk Art, as well as vintage and modern photography... more

The movements of a music box ballerina are reinterpreted in a groundbreaking video for British composer Ryan Teague using electromegnetic fields, sub zero temperatures and 2000 volts of electricity.

The goal for the project was to show the P12’s aerodynamic qualities in a whole new light, without actually having physical access to the car itself. Light painting has been around for decades but has never been put into full motion. Until now.

Working with McLaren we were able to process their wind tunnel airflow data and score out paths for individual trails of light. Each frame was then sliced into 650 frames that represent depths of 3D space and a plasma screen, mounted on a motion control rig, was used as a 3D light printer to play back the 650 slices as it moved through the space. We then repeated the move a thousand times for each frame of the animation and with each frame the camera, mounted on another motion control rig, moved a few millimeters so that over the course of the shoot we were able to create the effect of a moving camera.The finished film merges photography, animation and sculpture and is a truly unique way of representing aerodynamics that we feel justly celebrates this astonishing car.

I went out to film the Perseid meteor shower but I encountered so much more. When you are out there, you never know for sure what nature will bring. Always be ready for a magical experience.

Fiona Banner is best known for her ‘wordscapes’, written transcriptions of the frame-by-frame action in Hollywood war films. She has long been fascinated by the emblem of the fighter plane. Her compulsion to grasp the uncomfortable resonances of these war machines has produced a growing archive of material. From pencil drawings to newspaper cuttings and Airfix model collections of all the fighter planes currently in service, the modesty of her works often contrasts with the heroic connotations of her subject... more