Bethan Gray’s ancestors went on an incredible journey across continents – Bethan has since visited many of the places they passed through, inspired by a love of travel, art and culture. Today, her mission is to bring contemporary relevance to the traditional techniques from these regions – keeping both cultural narratives and craft skills alive. A twenty-year veteran of the design industry, the award-winning Welsh designer established her eponymous studio in 2008, and now designs best-selling statement collections for global retailers and brands. Her private collections are sold through Lane Crawford, Liberty and Harrods; her work features extensively in global media; and she has exhibited in London, Milan, Paris and New York.
Bruce McLean (b. 1944) studied at Glasgow School of Art from 1961 to 1963. From 1963 – 66 he attended St Martin’s School of Art, London, where he famously reacted against the formalist academic teaching of teachers such as Anthony Caro, Phillip King and William Tucker. In 1966 he abandoned conventional studio practice for impermanent sculptures made using materials such as water, along with performances of a generally satirical and subversive nature. In ‘Pose Work for Plinths I’ (1971; London, Tate), photographs record a performance in which McLean appeared in a variety of different positions on plinths to parody the poses of Henry Moore’s celebrated reclining figures. When in 1972 he was offered an exhibition at the Tate Gallery, he opted, with mocking intent, for a retrospective lasting only one day. He has continued to use humour to confront the pretensions of the art world and wider social issues such as the nature of bureaucracy and institutional politics. From the mid 1970s, while continuing to mount occasional performances, McLean turned increasingly to painting and most recently to ceramics.
McLean has participated in many major international exhibitions since the 1960s, highlights include: When Attitudes Become Form, Kunsthalle, Bern (1969); Information, Museum of Modern Art, New York (1970); The British Avant Garde, New York Cultural Centre (1971); Documenta 6, Kassel (1977); Art in the Seventies, Venice Biennale (1980); A New Spirit in Painting, Royal Academy, London; Zeitgeist, Martin-Gropius-Bau, Berlin (1982); Documenta 7, Museum Fredericianum, Kassel (1982); Thought and Action, Laforet Museum, Tokyo (1983); The Critical Eye, Yale Centre for British Art, New Haven (1984); Out of Actions; Between Performance and the Object, 1949-79, 1985 he was awarded the John Moores Painting Prize. Museum of Contemporary Art, Los Angeles (1997); Bruce McLean and William Alsop, Two Chairs, Milton Keynes Gallery (2002) and Body and Void: Echoes of Moore in Contemporary Art,
The Henry Moore Foundation, Hertfordshire (2014). First Site, Colchester (2014) and ‘A Hot Sunset and Shade Paintings’ Bernard Jacobson (2016).
McLean’s work is in private and public collections around the world.
London-based Max Lamb was born in Cornwall, England, an upbringing that imbued him with a love of nature and a creative spirit which have manifested in his practice as designer and maker. He graduated from the Royal College of Art, London in 2006, was named Designer of the Future at Design Miami/Basel in 2008 and continues to both produce and exhibit his work internationally.
Max is known for creating beautifully crafted pieces that have materials and traditional processes at their core. He looks to design products that stimulate dialogue between maker, product and user through a visual simplicity that effectively communicates the obvious.
Crockery, a collection of fine bone china tableware cast from moulds carved by Lamb, is testament to his maxim to use materials honestly and processes transparently, to give both their own voice rather than impose his aesthetic.
Snarkitecture is a New York-based collaborative practice established to investigate the boundaries between art and architecture. The name is drawn from Lewis Carroll’s The Hunting of The Snark, a poem describing the “impossible voyage of an improbable crew to find an inconceivable creature.” In its search for the unknown, Snarkitecture creates architectural-scale projects, installations, and objects.
Snarkitecture’s work focuses on the reinterpretation of everyday materials, structures and programs to new and imaginative effect. With a conceptual approach centered on the importance of experience, the studio creates unexpected and memorable moments that invite people to explore and engage with their surroundings. By transforming the familiar into the extraordinary, Snarkitecture makes architecture perform the unexpected.