Mark Wallinger

Mark Wallinger in his Soho studio,2012.

" A Soho studio provides artist Mark Wallinger with plenty of inspiration for his pieces - and an enviably short commute.

This is my studio at the top of Dean Street in Soho, Central London, where I’ve been working for about a year and a half. It has lots of windows so it’s incredibly light. I look out at Centre Point and the trees of Soho Square, and there’s a nice rooftop miscellany of buildings." (bron: The Times, foto: Chris Harris)



"You can tell a good deal about an artist from his studio. After I arrive at Mark Wallinger's, in the buzzing heart of London's Soho district, he pops out to buy a couple of cappuccinos before we settle down to do the interview, giving me a chance to nose around. His bookshelves contain an erudite mix, with the poems of John Ashbery wedged between James Joyce's Ulysses and Jonathan Franzen's Freedom. Pinned to the walls are a couple of photographs of ears (left and right) and Rilke's famous quote from the Duino ElegiesDuino Elegies: For beauty is nothing but the beginning of terror which we are barely able to endure." There are photocopies of Velázquez' scarlet-clad Portrait of Pope Innocent X (1650) that Wallinger used for his piece, I am Innocent (2010) - an investigation into religious authority.

Reproductions of Titian's Diana and Callisto and The Death of Actaeon (based on Ovid's Metamorphoses) reference his most recent project at The National Gallery, part of an exhibition of contemporary responses to the master, Metamorphosis: Titian 2012. This exhibition reunites those two paintings for the first time since the 18th century. We also see works by leading British artists Chris Ofili, (up for the Turner Prize) and Conrad Shawcross, along with those by Wallinger for designs they created for newly commissioned Titian-inspired ballets at the Royal Opera House.
...." (bron en tekst: Sue Hubbart, foto: Charlie Hopkinson)


Wallinger in his London studio, 2012.

"We are in Wallinger's airy, newish studio – he dubs it the "romper room". Double-aspect, as an estate agent would say, it is a far cry from the small and, dare I say it, dingy Waterloo studio he was previously in. There is no sign of paint or the usual art materials here.

There are, however, eye-catching objects dotted around; a furry brown object on the windowsill reveals itself to be a bear mask – part, perhaps, of the bear costume that he donned in a Berlin art gallery. A blue plasticine Earth-like blob hangs on fishing wire. Nearby, on his large desk, is a commercial globe that Wallinger points out is a lunar globe. He is currently looking at objects that pertain to the moon, the theme of his impending National Gallery exhibition and ballet.

On the floor is a chess board with carefully arranged pebbles, a preparatory plan of his larger project at his upcoming Baltic show, a work that will include 65,536 pebbles.
...." (bron: The Independent)