Exploring the contexts that we work in as 21st century artists – given that studios are often expensive places to run, what might the alternatives be? If you really need to have a studio, what are your options?

Material could be used to:

  • Run a presentation and accompanying discussion session on the pro’s and con’s of having a studio and what the alternatives are.
  • Consider the different uses of a studio space beyond that of making work.


Edwina fitzPatrick is the Course Leader for the MFA Fine Art course at Wimbledon College of Art. The course was developed in collaboration with CCW alumni and students, through a project called the Futureproof Course Handbook. Edwina is a practicing artist and completed her AHRC funded practice-based PhD working with the UK Forestry Commission in 2014. She is interested in what sustainability might mean for an artist, in every aspect of their lives. Her art work focuses on what happens when ‘grey’ and ‘green’ environments intersect and how human interactions have, and are, affecting the nature, culture and ecology of a place. Climate change and the ways that landscapes are imaged and imagined is key to her postdoctoral research.

Laura Eldret lives and works in London. Recent projects include Play Rough a commission for South London Gallery (2013), Power Plays solo exhibition at TheGallery at Arts University College Bournemouth (2012), Camden Arts Centre (Artist in Residence, 2011). Selected group exhibitions include Focal Point Gallery (2012), Glasgow International (2012), Baltic (2012), Five Hundred Dollars (2010), Musée des Beaux-arts de Nantes (2010). She was also co-founder of CollectingLiveArt in 2008. Her practice is based on an exploration of the social, looking at divergent aspects of how groups of people gather. She explores the agency of art within this broad cultural sphere, and produces works in a range of media including video installations, displays of fabric hangings, posters, photographs and drawings.

In 1983, Duncan Smith founded ACAVA to provide professional artists with the resources they need, in particular studio space, and to provide educational benefits to their communities through workshops, residencies and training facilities. The organisation now has studios for 500 artists and works with a wide range of other bodies such as local and health authorities, trusts and foundations, arts and educational institutions, regeneration agencies and social landlords, engaging the skills and creativity of its members to promote public benefit. ACAVA also provides a consultancy service, supporting the development of studios and services by other groups and organisations. For almost 40 years, Duncan has been teaching in art colleges and universities, and for over 30 years has been establishing computer imaging resources and producing and delivering courses for tertiary education and the voluntary sector. As an artist, he has exhibited installations and digital work internationally since the 1970s.

Further Reading