Artist Profile: Alejandra Carles-Tolra

1 June 2021

Art for Life, an Arts Council Collection National Partners Programme Exhibition at Firstsite, Colchester, is the result of a number of workshops with artists and people on the frontline of the health and care sectors. These workshops provided a space to examine their experiences of the pandemic and the effect this significant moment in our collective history has had on their lives. The exhibition features specially-selected loans from the Arts Council Collection, a variety of pieces made by the key workers who took part in the workshops alongside NHS art psychotherapists (who generously gave up their time to support the sessions), as well as contributions from artists affected by the COVID-19 virus.

The wide range of works in Art for Life offer a creative record of this time and reflect many of the shared experiences of life under lockdown - the appreciation of nature, importance of family and community, and the longing for human touch. Three selected photographs from the series Where We Belong (2017) by featured artist Alejandra Carles-Tolra most strongly demonstrate the collective longing to return to a time when we could safely hold hands and hug one another. 

Alejandra Carles-Tolra is a visual artist and educator from Barcelona, currently based in London. She is interested in the relationship between individual and group identity, and the way in which these may influence one another. Where We Belong (2017) is a body of work exploring themes of belonging, femininity and escapism through members of the Jane Austen Pineapple Society. The artist spent over two years working with the society, who share a passion for the 19th century author, defining themselves as Janeites and coming together at special events to recite Austen’s work while wearing Regency-style costumes.


Looking beyond the historical dress, Carles-Tolra’s photographs offer an intimate view into the relationships between the group’s participants. They hold hands, dance, sit together and embrace.

In an interview with lensculture about the series, Carles-Tolra explains “ the photographs, the physicality is very important. For many people, it’s odd when they hear about the group for the first time. But when you actually learn about it, it’s not that strange in today’s society to have a group online with whom you share interests. But….when that moves from online to real life, it gets interesting. It was the physical part that fascinated me, as it was a direct relationship to that psychological support that many of them had mentioned from the beginning: how Jane Austen had become a support at a time when they were lost and struggling with their own identity.”


It is the physical and psychological closeness of the figures that creates the reassuring sense of safety and the empowering feeling of belonging; feelings that many of us missed during the months in lockdown. Carles-Tolra’s photographs in Art for Life help remind us of the existential need to belong and be together. As the world begins to reopen, they also remind us to celebrate the new communities and relationships that have been built and sustained us during the pandemic.


Art for Life: An exhibition made with key workers is the fifth exhibition by Firstsite as part of the Arts Council Collection National Partners Programme, and is open from 17 May to 05 September 2021.

Kindly supported by the North East Essex Clinical Commissioning Group.


Artist Profile: Antony Gormley

5 August 2021

Antony Gormley’s Field for the British Isles, 1993, is one of his most celebrated works of art. Consisting of 40,000 individual terracotta figures, it is the largest single artwork in the Arts Council Collection and is currently on display at the Northern Gallery for Contemporary Art at National Glass Centre, the first time Gormley has exhibited in Sunderland. 

Antony Gormley is renowned for his distinctive representations of the human form. He has become one of Britain’s best-known artists, creating sculptures, installations and public artworks which explore the body, relationships, space, consciousness and collectivity. 

During the late 1980s, Gormley began to delve into his interest in multiple and collaborative pieces, marking a turning point in his practice with a different approach to looking at and making the human form. The first Field was made in 1989 and consisted of 150 figures made by the artist and his studio assistants. Versions of Field were subsequently made in Australia, Mexico, Sweden, Brazil and China. With each iteration Gormley moved away from making small scale versions to larger, more immersive installations such as Asian Field, created in the Guangdong Province of China and comprises over 200,000 figures.


Each version was created with volunteers from the community such as students, workers, local residents, young children and families. To produce Field for the British Isles, Gormley worked with about 100 volunteers aged seven to 70 years old from St Helens in Merseyside. To make the figures, each person was given a lump of clay, a small pot of water and a pencil to make the eyes. Gormley described this process of making the figures in an interview in 2012: “that repeated action of taking a hand-sized ball of clay, squeezing it between your hands, standing it up and giving it consciousness becomes meditative, the repeated action becoming almost like breathing, or a heartbeat.”

Since its acquisition Field has been seen by over 500,000 visitors in Aberystwyth, Carlisle, Colchester, Gateshead, Gloucester, Lincoln, London, Salisbury, Sheffield, Shrewsbury, St Ives, Yorkshire, St Helens, Somerset, and now Sunderland. It has been displayed in venues as diverse as a train shed, a vacant shop, a cathedral, a gallery, and a warehouse. At every new venue, the installation is completed by local volunteers working with team members from the venue and the Arts Council Collection, sometimes taking up to five days and as many as 20 volunteers. The images below were taken by Jodie Edwards, General Manager, National Partners Programme, during the installation in Sunderland in July 2021.


The Arts Council Collection : Artist Profile: Antony Gormley
The Arts Council Collection : Artist Profile: Antony Gormley

I think the making of Field was maybe the first and most clear expression of a longing for sculpture, as it were, it be a participatory activity. And it is a precious thing that this work continues to be cared for, continues to be seen, continues to be relevant through the agency of the Arts Council Collection.”

Find out more about this work and the process behind its creation in the film below with Antony Gormley.


Antony Gormley: Field for the British Isles is on view at the Northern Gallery of Contemporary Art (NGCA) at National Glass Centre, Sunderland until 25 September 2021.

To coincide with this display of Field for the British Isles, there is also an exhibition of twelve drawings by Gormley at Sunderland Museum and Winter Gardens.

Find out more at Sunderland Culture's website.


Explore this artwork

Artist Profile: Liv Preston

23 November 2021

This month’s Artist Profile focuses on Liv Preston, whose works DOG QUEST, 2020, and Casual(ty?), 2021, were recently acquired by the Arts Council Collection. DOG QUEST is currently included in the exhibition Right About Now at No.9 Cork Street in London and Casual(ty?) features in Where There’s Space to Grow at Sunderland Museum and Winter Gardens.


Born in Keighley and raised in Bradford, Liv Preston is heavily influenced by the material language of West Yorkshire. Combined with her obsessive interest in video gaming, the subterranean and science fiction publications such as 2000 AD, her practice primarily manifests as a combination of sculpture and conceptual gestures. Collections of objects are identified and mined, employing their unique material qualities and contexts. Their forms of display often resist and chew on traditional ways of installing art, as well as the politics surrounding these gestures. They imply mischief or danger in their presentation, deliberately undermining themselves in relation to their environments.


Cast from the slate window sill of an outbuilding at Pen Yr Orsedd, an abandoned quarry in North Wales, DOG QUEST documents a piece of graffiti of a dog's head. Discovered originally by a friend of the artist, a team was assembled to travel 240 miles to investigate the drawing in situ. By establishing the production of the work as a quest, the outcome exists as something closer to a treasure or relic than simply a record of a surface. It is a nod to the representation and consistent presence of dogs within human culture, while also pondering the closeness, or sometimes violence of this relationship. The members of DOG QUEST are Karl Fisher, Millie Leyton, Sam Keelan, Kobby Adi, Cat Tandy, Rowan Rossetter.


Casual(ty?) is made from a well-used Petzl caving helmet. While this may appear to have been discarded or left behind, it’s actually thoughtfully positioned to illuminate a nearby artwork with its torches. In video games, it’s common to encounter objects on the ground after completing a challenge or defeating an enemy, before they disappear or are retrieved by the player. It is intended by the artist that the helmet be wedged using any available item or material, ideally the simplest solution. For example, it has previously been angled using a spare screw from a member of the gallery installation team’s pocket. The economy of this decision is resistant to the usual fuss of installing artworks, whilst in an act of reversal, the piece itself plays the role of a spotlight.


Right About Now is on view at No.9 Cork Street until 15 December 2021. Where There’s Space to Grow is on view at Sunderland Museum and Winter Gardens from 15 January until 13 March 2022. Find out more about the exhibitions here.

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Artist Profile: Maggi Hambling

16 December 2021

Maggi Hambling CBE is a visual artist largely known for her intimate portraits, sea paintings and public sculptures including A Conversation with Oscar Wilde (1998), Scallop (2003) celebrating the composer Benjamin Britten, and most recently A Sculpture for Mary Wollstonecraft (2020).

This month’s Artist Profile focuses on Hambling’s prolific career and her work Drawing from life: back view (1965), which is currently on view in Seen, a National Partners Programme Exhibition at The Exchange in Penzance.

Hambling made this early work during a life drawing class at the Camberwell School of Art in the mid-1960’s. Hambling has continued to explore the human form in some of her work and she is celebrated for her portraits of friends, family and famous figures, some of which are held in the National Portrait Gallery, London.

In the Bloomberg film Brilliant Ideas: Maggi Hambling featuring the artist and her exhibition Touch: Works on Paper at the British Museum in 2016, Hambling talks about how drawing is at the centre of her practice. Art critic Louisa Buck explains that drawing is the absolute starting point of Hambling’s work and that she makes a drawing every morning. As the title of the British Museum exhibition references, touch is important to Hambling’s work. It is through touch and the physical making of the work that Hambling understands her subject. Her intense eye translates her subject in utmost detail, capturing all emotion and liveliness on paper.


Hambling said: “I believe the subject chooses the artist, not vice versa, and that subject must then be in charge during the act of drawing in order for the truth to be found. Eye and hand attempt to discover and produce those precise marks which recreate what the heart feels. The challenge is to touch the subject, with all the desire of a lover.” 

Drawing from life: back view is a unique insight into the early part of an artist’s career as she experimented with materials and subject matters whilst at art school. This gestural yet gentle depiction of a female model is one of a selection of works from the Arts Council Collection in the exhibition Seen, co-curated by young LGBTQIA+ people aged 11-19 in Cornwall. For the young curators, it was important that the exhibition featured artists from the LGBTQIA+ community. Hambling’s drawing is joined by other works by queer iconic artists such as David Hockney, Francis Bacon, David Robilliard, Duncan Grant, Sunil Gupta, Gilbert & George, and Howard Hodgkin.

Seen is on view at The Exchange until 08 January 2022.

Click here to download the exhibition learning pack created by DECODER, an artist led LGBTQIA+ organisation expanding the Queer gaze from West Cornwall.

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An Arts Council Collection National Partners Programme Exhibition co-curated by young LGBTQIA+ people from Cornwall aged between 11 – 19 working in partnership with LGBT+ charity The Intercom Trust
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Step inside a virtual Palace using the latest computer-generated imagery, created in collaboration with V21 Artspace, Newlyn Art Gallery & The Exchange and Arts Council Collection

Artist Profile: Miranda Forrester

14 January 2022

Miranda Forrester explores the queer Black female gaze in painting and addresses the invisibility of women of colour in the history of art. She is one of the newly acquired artists to the Arts Council Collection and her work The Muses (After Tamara de Lempicka), 2018, features in the National Partners Programme Exhibition, Where There’s Space to Grow at Sunderland Museum and Winter Gardens.

This exhibition is curated by the Celebrate Different Collective, Sunderland Culture’s Young Art Leaders.  The group chose artworks from the Arts Council Collection that they felt revealed stories that encourage us to dig deep by reflecting on the past or looking ahead to a shared progressive future.

Miranda Forrester’s work is a key part of the young curators’ exhibition which asks: how can we create space for all of us to grow? Forrester’s practice investigates how her identity affects the way she portrays her subjects and how her paintings can rearticulate the language and history of life drawing through a queer Black feminist desiring lens.

In a recent interview, the artist explains: “I feel it is rare to see any representations within the history of art that are relatable and authentic. Even when there are paintings of black womxn, mixed race womxn, or people of colour, they are not painted by those same people, it’s always someone else’s voice. It’s important that everyone has their place in art history and can see themselves in works and can feel like they relate to the people in those paintings.”



Forrester extends to her interest in the queer Black female gaze and history of art to the relationship between the muse and artist. Traditionally, muses are silent, often unnamed and portrayed as having a passive role in the production of the artwork. However, in The Muses (After Tamara de Lempicka), 2018, Forrester sees the process of life drawing as a collaboration that is enhanced when the artist has an understanding of the life, personality and character of the muse. In this work, she stretches plastic over the frame and paints onto the highly primed, smooth surface so that the viewer can see through the bodies.

The surface becomes more than skin: the figures depicted become real and alive. The layering of the transparent materials alludes to the complexities and nuances of identity. Her work celebrates women's bodies, the joy in occupying feminine identities and being in relation with one another.


Where There’s Space to Grow is on view from 15 January to 12 March 2022 at Sunderland Museum & Winter Gardens. 

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Explore exhibitions from the second round of National Partners for 2019-22: Firstsite in Essex; Sunderland Culture in Tyne and Wear and Newlyn Art Gallery and The Exchange in Cornwall.
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Artist Profile: Liv Preston

Find out more about Liv Preston, whose work DOG QUEST, 2020, and Casual(ty?), 2021, were recently acquired by the Arts Council Collection

Artist Profile: Rana Begum

1 May 2021

This month, Breaking the Mould: Sculpture by Women since 1945 opens after much anticipation at Longside Gallery, Yorkshire Sculpture Park. This is the first survey of post-war British sculpture by women, exploring the work of over forty sculptors selected from the Arts Council Collection.

The Touring Exhibition provides a radical recalibration of art history, addressing the many accounts of British sculpture that have marginalised women. Instead, the women sculptors’ critical work is at the forefront of the exhibition, illustrating the strength and range of their use of materials, subjects, and approaches.

Artist Rana Begum is one of over forty artists featured in this exhibition. In our latest film, the Arts Council Collection visited Begum in her studio where she talks about her practice and her approach to sculpture that began with her research into light and form.

Rana Begum creates sculptural works inspired by minimalism, urban architecture and her early childhood memories of traditional Islamic art. For her ongoing series Fold, Begum works with industrial materials including powder-coated aluminium and steel to create wall-mounted sculptures of an origami-like construction, blurring the line between sculpture, painting and architecture. Begum states, “One of the great things about being an artist is that you have this amazing array of materials that you can use, nothing is off limits. I’m in this position where I’ve been able to work with as many different materials as possible.”


Light is a fundamental part of her process. Begum considers both light's interactions with the surface of the work itself and its reflections on the space the work occupies. For her work in the Arts Council Collection, No.429 SFold (2013), Begum explains “[No.]429 was at a period where I was looking at how light changes the surface of the work, so I started introducing two different painted surfaces: one is kind of a satin finish and then in contrast to kind of something that was much more reflective and glossy. I have a limited palette of colours that I can work with because they are ready-made, I don't have to think about the process of mixing or making too much. It becomes more about colour and its interaction with the form and light, and how those things come together.”

Begum reflects on growing up in Bangladesh and in a Muslim family, and the influence these experiences have had on her work. “It becomes part and parcel of who you are...but you know I don't think about gender I don't think about my own sexuality, my religion or my culture when I'm making the work. I think for me you know, I was looking for a language that was universal, a language that anyone can approach, understand and kind of question.”


Watch the full film below.


Breaking the Mould is an Arts Council Collection Touring Exhibition initiated in response to Women Working in Sculpture from 1960 to the Present Day: Towards a New Lexicon, a research project led by Catherine George (University of Coventry) and Hilary Gresty (independent). 

After the first presentation at Longside Gallery, Yorkshire Sculpture Park in Spring 2021, Breaking the Mould will tour to Djanogly Art Gallery Nottingham Lakeside Arts, The Levinsky Gallery at the University of Plymouth, Ferens Art Gallery Hull and New Art Gallery Walsall.

Artist Profile: John Walter

1 April 2021

This month we highlight John Walter who recently presented at the Kickstarter event for the National Partners Programme Youth Collaborative Project. Having just returned from his residency at Kavli Institute in the Netherlands, Walter was able to join the online event and give a presentation on his recent projects, his works in the Collection, and signature approach to making for the young people in attendance from their respective groups at Sunderland Culture, Newlyn Art Gallery & The Exchange, and Firstsite, Colchester. 

John Walter’s work encompasses a diverse range of media, including painting, drawing, artist’s books, sculpture, costume, performance, video, sound, installation, spatial design and curating. His oeuvre is characterised by an exuberant use of colour and pattern, what he calls a maximalist approach, in addition to an absurdist and tragicomic use of humour. He works in series, producing iterative bodies of work that accumulate to form large and distinct projects,  as he explains “my work begins as a visual diary, which rapidly gives way to a form of autoethnographic painting; I create pictorial fictions that conflate my personal narratives with the voices of others. Images and phrases gathered in books become the building blocks for surreal hybrids, which then become scaffolding for larger drawn compositions, then paintings, videos and ultimately installations.”

Walter often collaborates with individuals and institutions such as other artists, scientists and museums in order to exchange images, ideas and narratives. The 17 works by Walter in the Arts Council Collection, which include works on paper, paintings, sculpture, costumes and video, are a testament to one such collaboration: CAPSID (2018–19) of 250 artworks, was the result of a collaboration between the artist and molecular virologist Professor Greg Towers of University College London. 


The following exhibition addressed a crisis of representation surrounding viruses such as HIV, by bringing new scientific knowledge about viral capsids to the attention of the wider public. Using the imagery and narratives associated with research around capsids to create an immersive, multi-media installation, Walter strove to deliver non-mainstream ideas to viewers in entertaining ways, with an emphasis on privileging the handmade, the awkward and the asymmetrical, an aesthetic the artist describes as ‘shonky’.

The title of A Virus Walks Into A Bar, 2018 came about after Walter began working on the CAPSID project. When he was asked what it was about, he found himself replying, ‘Imagine a virus walks into a bar…’ This storytelling expression struck Walter as a suitable way to narrate the life cycle of the virus in a clear, accessible way that anyone could understand – scientist, artist or other.

Watch and listen to Walter describe this work in the clip below:


Artist Profile: Evan Ifekoya

1 March 2021

This month we focus on Evan Ifekoya, whose work The Gender Song is featured in the National Partners Programme exhibition Paint the Town in Sound at Sunderland Museum & Winter Gardens.


Paint the Town in Sound explores the direct links forged between musicians and artists taking Sunderland based band Field Music’s own collaborations as a starting point to explore wider trends. The exhibition questions how we engage in acts of self-portraiture through music, be this through songwriting, use of visual art or associations to music subcultures, and how the musical heritage of the region provides a route to examine our own cultural identity and its relationship to class, politics and place.

In our latest educational film, Evan Ifekoya invited the Arts Council Collection into their studio at Gasworks in South London to discuss their works in the collection, how they are collecting their own archive, and their wider practice. 

Evan Ifekoya is a London-based artist who through sound, text, moving image and performance places demands on existing systems and institutions of power, to recentre and prioritise the experience and voice of those previously marginalised. Sound plays a fundamental role in their work.

Their practice considers art as a site where resources can be both redistributed and renegotiated, while challenging the implicit rules and hierarchies of public and social space. Through archival and sonic investigations, they speculate on blackness in abundance.

Ikefoya explains “I spend a lot of time looking into the archives of artists I really admire, but also archives of the experience of black queer folk. I’m kind of interested in the resonances, the connections and the distinctions between how we have lived and how we continue.


In the film, Ifekoya reflects on The Gender Song, stating “it’s me reflecting on gender, the experience of it, what it is to navigate it. I really wanted to add a sense of playfulness, you know, a sense of lightness, actually, on what can be quite heavy and weighted topics. And you know, it still continues to be a vehicle for me, thinking through humor as a way to work through what essentially can be quite oppressive forces. And also as a way of making the issues, the concerns something that can be accessed by more people.”

Ifekoya notes how in their earlier works, they were collaging sounds from popular culture and other music references together that spoke to the concerns and things that they wanted to say around gender. They also have an interest in club culture and wanted this aspect to be visible in the work. 

Some of my most foundational and transformative experiences with music have actually been experiencing it with a sound system outside in nature...There’s something about connecting with the Earth, being right by this amazing and powerful sound system and being surrounded by people who are also having this experience...I feel like that is an energy I’m often trying to tap into.” Their ongoing investigation considers this somatic experience of listening and the healing potential of sound. 

Commenting on how it feels to be a part of the Arts Council Collection, Ifekyoa explains “Ritual Without Belief and The Gender Song being purchased by Arts Council [Collection] was my first UK public collection and it was really exciting for me. Because for me, it’s really about the work living on and being able to be seen.

Watch the full film below.




Paint the Town in Sound in association with Field Music is on view from 21 December 2020 - 6 July 2021 at Sunderland Museum & Winter Gardens as part of the National Partners Programme.

This is now an online exhibition which can be viewed here.

Artist Profile: Ingrid Pollard

2 February 2021

Ingrid Pollard’s work Pastoral Interlude No.4 and Pastoral Interlude No. 5 are currently included in the National Partners Programme exhibition My name is not Refugee at Firstsite, Colchester. Due to government guidelines, the gallery is closed to the public but the exhibition will be accessible to view online via a new 360˚ virtual walkthrough.


Ingird Pollard is a photographer, media artist and researcher. Born in Georgetown, Guyana, she grew up in London. Early in her career, she worked at a women’s screen printing collective and was part of a group of British artists who championed black creative practice. Since starting to work as an artist in the 1980s, Pollard has developed a social practice that investigates representation, history and landscape with reference to race, difference and the materiality of lens-based media work. She has an ongoing interest in the English landscape and coastline, and through her combination of photography and printmaking, she questions the hidden histories of the rural, its colonial relationship to Africa and the Carribean, as well as the notions of home and belonging.


In the series of photographs Pastoral Interlude, the artist reflects on her experience of being a black British woman in the English countryside. Britain has been traditionally represented by images of a picturesque rural scene: rolling green hills, sheep dotted across a valley or fields of golden wheat. In these idyllic scenes that offer a quiet and calm, natural repose, there is also the understanding that the British rural areas embody overwhelming whiteness. 


The photographic series captures Pollard in the epitome of authentic rural Britain, the Lake District, taking part in outdoor activities such as rambling and fishing. The staged images are juxtaposed with texts referring to the history of black people in Britain, specifically the history of slavery and colonism. The combination of image and text reveals the feelings of alienation and ‘otherness’ Black people often experience in rural areas. As Pollard says of the work: “It's as if the black experience is only lived within an urban environment. I thought I liked the Lake District, where I wandered lonely as a black face in a sea of white. A visit to the countryside is always accompanied by a feeling of unease, dread.


Pollard also states “In England there’s a very specific way of viewing the rural, with land ownership, and the colonial aspect of Britain where they went around clearing land. It’s a long, complicated history. People later came from overseas seeking opportunity in England, but it’s the repercussions of colonialism, and the way it has affected particular countries, that people are feeling now.

Pollard’s photographic investigations of the black experience of the British countryside are shown alongside other works displaying visions of natural scenes such as by David Nash, Graham GussinMargaret Fisher ProutHubert WellingtonElise Few and Zarina Bhimji. The curators of the exhibition chose these works from the Arts Council Collection for how they touch on notions of home, what it means to find new connections in a different place, and visions of the British landscape they had before arriving in the UK.



My name is not Refugee has been curated by Elizabeth Curry, Münevver Gülsen Ülker, Samia, Diego Robirosa and Mr and Mrs Al-Chahin, working together with many more clients and volunteers from Refugee Action-Colchester. 

The exhibition is on view from 3 December 2020 - 6 June 2021 at Firstsite, Colchester as part of the National Partners Programme.

The Arts Council Collection : Artist Profile: Ingrid Pollard

Artist Profile: Alberta Whittle

1 September 2020

This month’s profile focuses on Alberta Whittle, whose work, between a whisper and a cry, 2019, is among 38 newly acquired works by 21 artists entering the Arts Council Collection in 2019/20.

Alberta Whittle’s practice aims to develop a visual, oral and textual language to question accepted Western constructs of history and society. Her work frequently reflects on the legacies of slavery, colonialism and the current climate crisis. She connects black oppression with meditations on survival, championing the idea of healing as a form of self-liberation.

At the time Whittle began making between a whisper and a cry, 2019, the Caribbean had experienced three consecutive years of devastating hurricanes and storms. The artist was struck by how people she spoke to in the UK responded apathetically to this global notion of instability, and hoped to open up conversations about what was happening in the Caribbean communities of which she is part.

The work speaks of memory, trauma and tensions between the land, the sea and the weather, revealing the precarity and privilege of geography. It explores theorist Christina Sharpe’s characterisation, in her book In the Wake: On Blackness and Being, of ‘the weather’ as an ‘anti-black atmosphere’ in which we all live. The soundtrack and visuals seek to evoke the feeling of being caught and submerged within a wave, asking us to consider our bodies as falling beneath the threshold, and how we can come up for air when the current is dragging us under.

between a whisper and a cry was commissioned for the 2018/19 Margaret Tait Award.

Alberta Whittle is one of ten artists selected by the jury of the cancelled 2020 Turner Prize to receive a £10,000 bursary, in recognition to their significant contributions to new developments in British contemporary art.

Explore the full list of 2019/20 Acquisitions.



The Arts Council Collection is the UK's most widely seen collection of modern and contemporary art.

With more than 8,000 works by over 2,000 artists, it can be seen in exhibitions and public displays across the country and beyond. This website offers unprecedented access to the Collection, and information about each work can be found on this site.