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interviews
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Jeremy Le Grice in his studio in Newlyn Podcast interview by George Care (30mins) |
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Andy Harper and Abigail Reynolds
on 'Assembly' in St Just E-interview by Rupert White |
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Video by Alban Roinard
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Sue Bleakley: studio-visit Video interview by Robin Field |
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Michael Porter on time, Derbyshire and photographs Podcast interview by George Care |
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Diane Ibbotson: studio-visit Video interview by Robin Field
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Peter Geschwind on punk, programming and
playgrounds I'm not a musician anymore... I wasn't really any good when I used to play. We played punk rock, you don't have to be very good to do that! Its like a feeling, like a dissonance or... Podcast interview by Linda Cleary |
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Rupert Loydell on poetry Rupert Loydell was born in London, and trained in creative writing and painting. He started Stride magazine and press in 1982, and has many books of... |
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Sue Jackson on Cabaret Mechanical Theatre Starting in Cornwall before moving to London and subsequently touring widely, for years Cabaret Mechanical Theatre provided a focus and an outlet for the 'Falmouth automata makers'... |
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Rose Hilton by Alex Wade Alex Wade is a writer and journalist and art editor of Cornwall Today
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Brian Stewart on Falmouth and Falmouth Art Gallery Brian Stewart is curator of Falmouth Art Gallery on the Moor in Falmouth
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Michael Bird on 'The St Ives artists: a biography of
time and place' Michael Bird lives in Penwith, has written for the Tate magazine and is author of 'Sandra Blow' the definitive monograph on the late painter. |
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Glen Onwin on 'Blood of the Pelican' part of 'A Quality of Light', 1997 |
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Nigel Ayers on electronic music, Iraq,
psychogeography and Bodmin Moor Trained as a visual artist, Nigel has worked as a musician and composer for more than 20 years and has made hundreds of recordings both in his own name and as 'Nocturnal Emissions'. He no |
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| James Green and Blair Todd of Newlyn Art Gallery and The Exchange |
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PhFehlFelipe
Ehrenberg and Stuart Reid on FLUXSHOE
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Dr Chris Short on debate, ersatz
and the simulation of art Chris, shall we start by discussing the celebrated St Ives artists of the 40's, 50's and 60's? How do you think they are viewed now and what effect has Tate St Ives had in moulding these perceptions? The most significant thing... |
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