Charlotte Roseberry Catlin Art Guide 2014 Preview Artist #1 - FAD Magazine

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Charlotte Roseberry Catlin Art Guide 2014 Preview Artist #1

Extrude (c) Charlotte Roseberry

Thumb (c) Charlotte Roseberry

Terrabauble (c) Charlotte Roseberry

Ahead of the Catlin Guide 2014 Launch at London Art fair in January FAD will be featuring some of the artists from the guide here we have : Charlotte Roseberry.

What made you want to be an artist?
Well I originally wanted to be a crafts person, with more of a trade skill, and got into ECA on the grounds of doing Silversmithing and Jewellery, which quickly went out the window once I was there! I never intended on becoming an “artist” it just seems to be something that is happening.

How has your practice changed over the course?
My work has changed but has always had a particular aesthetic. I used to use a lot of realism and portraiture in my work which for the time being is on the back burner while I explore the more simplistic and graphic aspects of my practice.

How does it feel to be in the Catlin Guide?

What is your studio routine?
I’m in there every day, usually making terrible mistakes. I always have at least two or three pieces on the go and in between I’m stretching canvas’ or drinking tea.

Where do you see yourself in five years time?
Hopefully still making work! touch wood.

What artists inspire you?
There’s so many incredible practitioners out there at the moment. My favourites at the present are painters: Masha Krasnova, Charlie Immer & Christian Rex Van Minnen. Those guys are bad ass.

How does it feel to be leaving University?
Scary, there’s no safety net anymore. No one to kick you up the butt when you need a good kick’n.

What are the best shows you’ve seen in the past year?
I thought the Witches and Wicked bodies exhibition at the Scottish National Gallery of Modern Art was brilliant and very well timed. It resonated with the very current issues of misogyny and how women are represented today.

What makes a great artist?
Someone with a real good visual understanding. And balls.

How do you negotiate the pressure to be a commercially viable artist?
There’s probably an avenue for almost anything to become commercially viable now, especially with the internet and the ease at which people can communicate their ideas through it. The way people view & buy art is changing. I think the pressure comes in finding your place in that world and keeping up with it!

If you were given a big commission what work would you want to realise?
Something large scale and bold. I would love to expand on my current theme of monoliths and unexplainable structures.

Who do you think should have won the Turner Prize?
David Shrigley.

What are the best galleries in the UK?
The Scottish ones!

The Guide will be available at the ArtCatlin stand P25 at the London Art Fair, 15th -19th January, for more information www.artcatlin.com



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