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Studio Secrets

Clive Brandon

  

Describe the things and images that you have around you in your studio and how they influence or inform your work.

I have a lot of maps on the walls (and sometimes floor) of my studio, mostly of Hackney and East London, where I live and have my studio. Maps are literally the starting point for my work, both in a practical way (i.e. planning where to make work) and also as an element in the work. There is also a lot of plasterboard, canvas and wood that is currently appearing in my work as I'm going through a bit of an experimental phase while I'm studying an MA at Wimbledon.

Describe your working methods and processes

I make walks, and in the past have recorded various elements from these walks, but I have recently started making photographic and painterly interventions in the environment, and this is reflected in my studio practice which involves a lot of paint drips and pours, combined with mapping.

Which single item in your studio is most important to your work?

This is probably the large map of Hackney blown up from the A-Z: I constantly refer to this and I'm always fascinated by maps and can look at them for ages. It inspires new pieces of work and also appears in many of my works in some form or another.

Which artist/s most influence your work and which recent show has been inspirational?

Robert Smithson is a huge influence, and I suppose my work is grounded in 1970s conceptual strategies. I came out of the Fischli & Weiss show 'Flowers and Questions' at Tate Modern feeling really excited about the work (something that a lot of shows don't manage) Also the 'Good Riddance' show at MOT was really interesting I really like Leo Fitzmaurice's work.

Is your studio a refuge or a place of torture?

Most of the time, it's neither, I view my studio as an assembly point for the material that comes back from the walks. By this I mean that I don't tend to view the time in the studio as making the work, this is when I am out and about walking, making photographs and interventions and collecting material/images. When I get back to the studio I more or less know the format of the work, this might sound dry and clinical but the excitement for me occurs outside, and when the work is presented, the studio practice is more of a staging post between my original walk and its dissemination.