Pavilion

Narrative Textiles: Tell your story in mixed media and stitch is the first book by textile artist Ailish Henderson. It’s a gorgeous book in which she explains her working methods and how you can harness them in your own work to create unique, deeply personal textile art pieces. Cas Holmes, textile artists and Batsford author reviews the book.

by Cas Holmes

Like all good stories, Narrative Textiles begins with ‘Once Upon a Time’ as Ailish Henderson welcomes you into her life in which stitch plays a central role and invites you to embroider your own tales. Ailish was taught to embrace the world through her beloved mother who home-schooled her. Her father, she says, ‘taught her to feel’.

Her recording of that world began with pen and paint. It was through her mother and her grandmothers, that she began to embrace the world of cloth. This book sits somewhere in between.

In the first chapter, Processes in Motion, Ailish discusses how ideas can be developed through our visual recording and notation as well as evolve from a place of imagination.

The foundations are laid with the relevance of ‘story-boards’ in the construction of your narrative and establishing what is of interest to you. Underpinning this is the need to embrace the ‘S-Word’ or sketchbooks as part of that recording process.

The following chapter, Materials, explores how we connect to textiles through surprise finds and discoveries, via family heirlooms or through their historical legacy. As part of that connection you are invited to explore both the visual and haptic qualities to be found in cloth, paper and found materials beneath your fingers.

Print, collage, stitch and working sculpturally are made accessible in the mini-projects laid out in the third chapter ‘Making Actions’.  All can be explored in the domestic setting without specialist studio equipment.

Ailish talks about ‘mash-up moments’, remembering the joy she found in making things as a child, instinctively working with collage, mixed-media and stitch as a means to discover new ways of working and keeping hold of the passion. The narrative line, Ailish argues, is there to be bent to your will. Using examples of her stories,  which she describes as ‘a glorious mix of the fabricated, the frivolous and the true’ she takes you on a journey of text and image to find the narratives that are meaningful to you.

As we follow the path of the story, we walk towards nature and the idea of repair, and how both can be restorative for our ‘souls’…and I should know.

Beautifully illustrated throughout, Narrative Textiles balances drawing, recording and creating works in cloth alongside Ailish’s own poetry and creative observations.  Images and text  seamlessly weave the work by internationally recognised makers including  Woo Jin Joo- winner of the Fine Art Textiles Prize, Michelle Kingdom, Jenni Dutton and Daisy May Collingridge into narratives contained within.

Like all good stories that have a beginning, we come to the end, but as Ailish suggests, there is still so much ‘unwritten’ and it is here she invites you to create a chapter of your own making.

Narrative Textiles: Tell your story in mixed media and stitch by Ailish Henderson is available here on our website and from other good booksellers.

Cas Holmes is the author of several books by Batsford including Soulful Stitch: Finding creativity in crisis, co-authored by Deena Beverley, out now.

Artworks by Ailish Henderson, photographed by Ailish Henderson and Katie Vandyck.

Insects are everywhere, all the time, every day of the year. We might not see them on a daily basis, but they are still somewhere. They could be underground, in the sky or anywhere in between. Insects are permanent inhabitants of every continent on Earth. Read on to explore some intriguing insect facts from Dominic Couzens and Gail Ashton’s new book An Insect A Day.

By Dominic Couzens and Gail Ashton

Madagascar Hissing Cockroach

Gromphadorhina portentosa | Hemiptera / Blaberidae

It’s a remarkable fact that a generally derided insect (a cockroach) from the forest floor leaf litter on the island of Madagascar should become world famous. But it’s true. The hissing cockroach is kept as a pet around the world and has even featured in movies. The reason is down to one thing: it hisses. And not many insects hiss.
One of the world’s largest cockroaches, it makes its unusual sound by expelling air through specialized spiracles, the main respiratory organs of land insects. It’s a bit like the deflating of a tyre puncture. It is used primarily as a form of self-defence against predators.However, male cockroaches also have two other types of hiss. One is to put other males in their place. The other is an invitation to females.

Hitchhiking Wasp Larvae

Hymenoptera / Eucharitidae

The tiny Eucharitid wasp is a parasite of ants that live underground – not easy to reach, but this is a wasp with a plan. Eggs are laid into the leaf tissue of a plant frequented by the host ant, then the larvae (planidia) hatch out and hop on to passing worker ants and hitch a ride back to the nest. Eucharitid planidia are particularly motile and have a harder exoskeleton than most larvae, allowing them to pull off this hitchhiking stunt, known as phoresy. Once inside the nest, they drop off the workers and latch onto the ant larvae. Here, things get a bit dark, as the planidia eat away at the ant larvae, very carefully, avoiding critical organs and tissue; this keeps the host alive and fresh longer. Amazingly, the ant larvae survive being partially eaten, and is even able to pupate. The wasp itself pupates, and either exits the nest on its own, or leaves in the manner it came, just hitching a ride.

Metallic Stag Beetle

Cyclommatus metallifer | Coleoptera / Lucanidae

There are impressive stag beetles in Europe and the USA, but for sheer star quality, both are outshone by this extraordinary beetle from Indonesia. It comes in two colour forms, gold (which is the most common) and black, which naturally arise in both wild and captive populations. The males bear the outsized mandibles, which are used in combat over females. Well-matched males indulge in gladiatorial combat, jostling with their mandibles and trying to bite one another, with an end game of throwing your rival off the log or branch on which you are competing.

Leaf-roller Fly

Trigonospila brevifacies | Diptera / Tachinidae

Parasitic flies may not sound particularly endearing to most people, but here’s one that surely cannot fail to charm. The leaf-roller flies (trigonospila spp.), found in Australia and New Zealand, are snazzily striped species with crisp black and white (or pearly) horizontal bands, making them look like tiny, walking pedestrian crossings. These enigmatic flies are thought to parasitize leaf beetles (chrysomelidae) and for this reason are seen as beneficial biological control.

Sloth Moth

Bradypodicola hahneli | Lepidoptera / Pyralidae

The name says it all: sloth moths do indeed live on sloths. Bradypodicola hahneli lives in the hair of just one species, the pale-throated three-toed sloth (Bradypus tridactylus). Up to 100 individuals may piggyback on a single individual and can easily be seen running around the fur.

Nobody knows yet what the adults feed on, but there is no doubt what the larvae relish – sloth dung. The peculiar mammals are famous for defecating once a week, and while they do this, the moths fly down and lay eggs on the faeces. Once a sloth returns to the latrine, freshly emerged adult moths fly up and take up their unusual residence.

Dung Beetles

Coleoptera / Scarabaeidae

World Toilet Day on 19 November highlights the need for clean sanitation for everyone, all over the planet. There is much poo in the world, and it has to go somewhere. For animals that don’t have sewage infrastructure, this is dealt with in other ways. Since the first animals started to poo, a niche became available which has been filled by a host of invertebrates, bacteria and fungi that have evolved the ability to extract nutrients from dung, that cannot be absorbed by larger animals. Most well known are the dung beetles, which roll poo into almost perfect spheres. They collect the dung of large herbivores, pressing and forming it into balls and roll them back to their subterranean nurseries for their larvae to feast upon. All over the world, at any one time, millions of insects are consuming poo from every species (including, yes, humans); if they weren’t, we’d all be literally up to our necks in poo.

We hope you’ve enjoyed these fascinating insect facts. Find more stories of insects in An Insect A Day by Dominic Couzens and Gail Ashton, out now.

Cloth Stories: Capturing domestic life in textile art is the first book by embroiderer and textile artist Ali Ferguson. It’s a guide to creating exquisite, intimate and nostalgic work inspired by the home. Here, textile artist and fellow Batsford author Cas Holmes reviews the book.

by Cas Holmes

I was delighted to be invited to review Ali Ferguson’s nostalgic reflection through contemporary interpretation on home and family life in Cloth Stories the latest in a series of books by Batsford which asks the reader to take a more considered and thoughtful approach to using resources and materials. From the very beginning, Ali talks about following a ‘thread of thought’, a concept that runs through the pages as she encourages you to seek the potential to be found in domestic references and ideas of home as stimulus to create your own stories in textile art.

Divided into clear chapters Ali starts with boldly sharing her visual thinking processes using ‘mind maps’ and clearly demonstrates how writing down her thoughts and ideas have helped her to make connections between the meaning behind her work and the techniques she uses to make these ideas visible. This process of enquiry runs through her work and punctuates each chapter in the book.

In the first chapter Visual Thinking, Ali discusses how ‘Meaningful Materials’ from cloth and paper to words and motifs, have the power to turn your thoughts into stitch projects. Favourite materials and suggesting themes are explored that give the materials, the work developing, a ‘voice’.

Subsequent chapters look at the associations we make to various rooms in our homes from the kitchen to the nursery. I was particularly drawn to ‘Stories form the Scullery, not because of personal association with a similar space, my home is too small to have one, but more because of its association with the drudgery of daily chores. Beautifully stitched paper and cloth fragments are framed with a vintage washboard in ‘Laundry Tales’ which honours the work entailed by ‘domestic care’.

Glimpses into family life and the things we may all have memories experiencing are shared in the stories we tell each other. Works are mounted on wood fragments, incorporated into baby shoes, and in everyday ‘chance finds’ re-imagined in the artists hands because of their association with the domestic.

Ali’s working processes are beautifully photographed by Michael Wicks and sits well alongside work by carefully chosen artists which include Caren Garfen, Maria Thomas, Mandy Pattullo and Haf Weighton who share a passion for the domestic and telling of stories.

This is a title which will sit very appropriately with my collection of reuse, re-purpose and revalue reference books that I can ‘rejoice’ in having on my bookshelf.

Cloth Stories: Capturing domestic life in textile art by Ali Ferguson is available here on our website and from other good booksellers.

Cas Holmes is the author of several books by Batsford including Soulful Stitch: Finding creativity in crisis, co-authored by Deena Beverley, out 10 October.

Artworks by Ali Ferguson, photographed by Michael Wicks.

Get creative with colour! Together with Millie Marotta, we’re inviting you to a colouring competition to celebrate the release of Millie’s new book Precious Planet.

Download and print Millie’s axolotl colouring sheet here, get creative with the palette of your choice and enter it for your chance to win a colouring bundle worth over £230, including:

1 x signed copy of Millie Marotta’s Precious Planet
1 x Millie Marotta’s Tropical Wonderland Postcard Book
1 x Faber-Castell Pitt Artist Pen Brush India Ink
1 x Millie Marotta-themed sketch pad from Faber-Castell

Once you’ve finished your masterpiece, use any of the following methods to enter:

Facebook
Post your image to the Colour & Win with Millie Marotta page. You’ll find the visitor post uploader at the top of the page, in the field where it says ‘Create post’ or ‘Write a post…’ 

Instagram
Share your image and tag it with #MillieMarottaAxolotls. Please note, we’ll only be able to see your entry if you have a public profile.

Millie Marotta’s Colouring Gallery
Upload your image to the Millie Marotta Axolotl Colouring Gallery.

The colouring competition is open in the UK and internationally until 23.59 BST, 21 October 2024. Millie will announce 10 winners, drawn at random on 25 October. Before you enter, make sure to read the competition terms and conditions here.

If you have any questions about the competition, please email marketing@batsfordbooks.com.

Happy colouring!

Millie Marotta’s Precious Planet is publishing on 10 October. Available to pre-order now.

From understated Art Deco glamour and sleek Brutalism to stylish shipping container solutions and riotous Postmodernism, Christopher Beanland takes a tour around 50 of the world’s most remarkable stations in his new book Station: A journey through 20^th and 21^st century railway architecture and design. Read on to discover five of the best stations.

By Christopher Beanland

ELIZABETH LINE

London (pictured above)

It took longer to finish the Elizabeth Line than it does to finish the Christmas Day washing up. And it came with even more squabbles. It feels like (despite the delays) a Britain doing things right. It’s hard to fault the ambition and the size and space of the stations. It doesn’t feel like a country falling apart – but then it was supposed to be there years and years ago, before Brexit and the wheels coming off. The platforms at Farringdon and Liverpool Street stretch between two Underground stations, and walking the length of them keeps your Fitbit happy. The white colour scheme feels fresh and modern and, combined with the platform-edge doors, it’s pure Star Wars space-age camp. Londoners couldn’t believe that travelling could be so comfortable – our Underground is so old and clattery, this feels like the real deal. It’s how new metro lines in developing cities feel. Knitting regional routes out to Shenfield, Abbey Wood, Reading and Heathrow makes the south-east’s rail system so much more efficient. Though some of us still like to think of it as Crossrail, the project name for a decade.

T-BANA STATIONS

Stockholm, Sweden

Stockholm’s T-Bana (Tunnelbana) stations are a glorious riot of colours and motifs. Art adorns each of them and they have a primal feel, like they were hollowed out of the earth by elves or something. Akalla, Stadion, Tensta and Tekniska Högskolan all boast trippy, easily enjoyed but not necessarily easily read artworks all over their walls, and a sublime subterranean setting. Handsome blue trains and the simple blue ‘T’ logo at stations give a visual integrity to the whole project, which opened in 1950 but continues to expand.

UNION STATION

Los Angeles, USA

It’s Hollywood, baby – why wouldn’t you get a glamorous station? Los Angeles’s main rail terminal is a bubbly exercise in glitz. The unique orange arch you walk through on your way to the Amtrak trains makes it seem like you’re walking onstage at the Oscars. The rows of leather seats are sumptuous. From outside, the Pueblo white façade with palm trees swaying in front is pure So-Cal cool. For so long forgotten, now LA’s new rail renaissance has its heart here on the fringes of Downtown – reminding so many Americans that trains were such an unstoppable power before cars and planes stole their thunder. The idea of taking a train to New York now seems appealing again after years of decline, though that is easier said than done. But train trips around California are possible and LA’s Metro line to Pasadena is not bad – it’s just full of an array of quite colourful characters.

LINE 9

Chengdu, China

Silkworm cocoons and lotus flowers are some of the inspirations for the flashy designs of the new Line 9 stations on the Chengdu Metro. A bright white palette is accentuated by colour coding of individual stations – yellow, green, etc. – in this design by China’s J&A and the UK’s Sepanta. The 22km (13 3⁄4 mile) Metro line stretches through the city of Chengdu and the stations echo the kind of Chinese style of white modernism you can see at Shenzhen Airport and the natural-world-influenced wavy lines epitomized by MAD’s Harbin Opera House.

VIENTIANE STATION

Vientiane, Laos

The biggest and most important station on the Laos–China high-speed line, which opened in late 2021, Vientiane is a shiny addition to the city and a marker of how far previously struggling and landlocked Laos has come. The line is, of course, part of a Chinese softpower offensive, with funding and engineering know-how coming over the border from Beijing, and a direct connection to China’s railways that makes trade between the countries more seamless as part of the ‘belt and road’ initiative. The station’s brown roof nods to the local vernacular, and to the ‘city of sandalwood’ as Vientiane is known, while its glassy walls are standard station modern.

Extracted from Station: A journey through 20^th and 21^st century railway architecture and design by Christopher Beanland. Out now and available to buy from our webshop.

Image credits: Elizabeth Line: Photograph by Simon Turner/Alamy. Line 9: Building by J&A and Sepanta Design/ Photo by CHAPA.

Happy National Poetry Day, a day set up by the Forward Arts Foundation to encourage all to enjoy, discover and share poetry.

To celebrate, we’re sharing some of our favourite excerpts from Batsford’s newest poetry infused titles to keep all you literary lovers well fed with verse!

From The Poetry of Birds edited by Samuel Carr

The Kingfisher

From Upon Appleton House

So when the Shadows laid asleep
From underneath these Banks do creep,
And on the River as it flows With ebon shuts begin to close;
The modest Halcyon comes in sight,
Flying betwixt the day and night;
And such an horror calm and dumb,
Admiring Nature does benumb.

The viscous air, wheresoe’er she fly,
Follows and sucks her azure dye;
The jellying stream compacts below,
If it might fix her shadow so;
The stupid fishes hang, as plain
As flies in chrystal overta’en,
And men the silent scene assist,
harm’d with the sapphire-winged mist.

Upon Appleton House by Andrew Marvell was originally published in 1651 for Thomas Fairfax, 3rd Lord Fairfax of Cameron

From A Poem to Read Aloud Every Day of the Year edited by Liz Ison

The Swan

Did you too see it, drifting, all night, on the black river?
Did you see it in the morning, rising into the silvery air,
an armful of white blossoms,
a perfect commotion of silk and linen as it leaned
into the bondage of its wings: a snowbank, a bank of lilies,
biting the air with its black beak?
Did you hear it, fluting and whistling
a shrill dark music, like the rain pelting the trees,
like a waterfall
knifing down the black ledges?
And did you see it, finally, just under the clouds—
a white cross streaming across the sky, its feet
like black leaves, its wings like the stretching light 
of the river?
And did you feel it, in your heart, how it pertained to
everything?
And have you too finally figured out what beauty is for?
And have you changed your life?

The Swan by Mary Oliver is the poem Liz selected for October 6th

And finally, from An Apothecary of Art by Ravenous Butterflies

A book that celebrates inspirational words, both poetry and prose alike.

From ‘Poems of Ralph Waldo Emerson’

‘Write it on your heart
that every day is the best day in the year.
He is rich who owns the day, and no one owns the day
who allows it to be invaded with fret and anxiety.

Finish every day and be done with it.
You have done what you could.
Some blunders and absurdities, no doubt crept in.
Forget them as soon as you can, tomorrow is a new day;
begin it well and serenely, with too high a spirit
to be cumbered with your old nonsense.

This new day is too dear,
with its hopes and invitations,
to waste a moment on the yesterdays.’

This poem was paired by Lisa with the painting ‘Moonlight, Winter’ by Rockwell Kent with the hopes of encouraging a sense of wisdom within the reader.

An Apothecary of Art features quotations of prose as well as poetry, learn more about Ravenous Butterflies’ founder Lisa Azarmi’s upcoming appearance at The Bloomsbury Festival, discussing the book.

We’ve got more poetry books to discover, including The Poetry of Birds, A Poem to Read Aloud Every Day and An Apothecary of Art as well as our further collection of poetry titles.

Today is the publication day of Millie Marotta’s Animal Adventures. It also happens to be National Colouring Day, giving colourists even more reason to rejoice! Established in 2015, the day is celebrated by anyone who find joy, solace and calm in colouring as a pastime. To mark this colouring double whammy of days, we’re sharing some of our favourite colouring books, with enough variety to keep you busy until Christmas.

Millie Marotta’s Animal Adventures

Summer is over and you’ve not been able to get away? Come along on a colouring journey with Millie Marotta’s Animal Adventures. This book combines the visual splendour of Millie’s favourite illustrations from her books Island Escape, Secrets of the Sea and Woodland Wild, plus five new exclusive images to colour. Add your own palette to some of the world’s most majestic animals. Out today, what better way to step into autumn than opening your eyes to nature’s finest creatures?

Maggie Magoo’s Amazing Alphabet

You’re never too old to learn your ABC’s! Make every letter of the alphabet an elegant masterpiece, with floral illustrations and quirky critters to frame each page; why not use them for bedroom prints, new-born nurseries or decorating a kitchen to make it more like home? Shade your way through both letters and numbers to wind yourself down on a calming September night.

Millie Marotta’s Woodland Wild Pocket Colouring

Fancying taking a trip out in nature whilst keeping to the comfort of your front room? Dive into the beauty of woodland creatures and plant life in Millie Marotta’s Woodland Wild Pocket Colouring edition. Featuring species from across the globe, vibrant and teaming forest life and an exquisite array of flora, Millie’s intricate designs will keep you hooked for hours as if you’ve been frolicking in the woodland for days on end!

Gulliver’s New Travels: James Gulliver Hancock

Haven’t booked yourself a getaway this year? Well worry not! This fantastic re-imagining of Jonathan Swift’s 18th Century novel soars you through the exotic lands of this imaginary world and even worlds far, far away. Why have Spain when you can colour your way through teeny Lilliput or giant Broadingnag? An ideal book for lovers of the original and those wishing for a pocket of escapism.

London Buildings Colouring Book: Hannah Dipper & Robin Farquhar

For those with an architectural edge, this colouring book is packed with clean lines and modernist flare. Perhaps you’ll find a new favourite in this collection of 45 savvy line illustrations, ranging from Sir Christopher Wren’s 1675 Greenwich Royal Observatory, all the way to 1960s Brutalism. Add some colour to the Big Smoke as you pencil your way through the city.

Calming Colouring Patterns: Graham McCallum

If simplicity is your bag, Graham McCallum will keep you relaxed through these bustling autumn months. Dip in an out of these 80 unique illustrations that take you through the beauty of Japanese waves, the history of Medieval motifs and the decadence Art Nouveau. Take some time for yourself during the midweek chaos and colour your way into a restful evening.

Harry Potter: House Pride Official Colouring Books

Passionate for Potter? If you’re a parent of Potter lovers or a Wizarding fan yourself, there’s a broom to dive your way into this magical world. If you’re a Gryffindor, Ravenclaw, Hufflepuff or Slytherin, we’ve got characters, artefacts and buildings to celebrate every house. Better make sure those house colour pencils are sharp!

Next in our Batsford Prize 2023 (Theme: At Peace) Artist Interviews series we hear from illustration and visual media student Megan Du, who was awarded the prize for the Illustration category, for her piece Tribe.

Megan is studying Illustration and Visual Media at the London College of Communication, University of the Arts London. Her winning creation Tribe is a story dedicated to all women that explores the exploitation of modern women by beauty standards from a patriarchal society. Megan’s piece is laid out over six pages of colourful illustrated artwork, titled Bullying, Makeup, Skin, Shoes, Run Away and Linking.

‘In this all-female society, the woman has finally found her place. She no longer judges her appearance as her entire worth; she has her own hobbies and is curious about the world; she exists as a creative subject rather than an object objectified and following the standards of others; her menstruation is like the cycle of the moon, evidence of the natural connection between women and nature; she creates intimate connections with other women and is no longer cut off by the lies of patriarchy. The woman no longer feels alone.’

Hi Megan, can you tell us what your piece is about? Can you tell us what initially influenced it and what it means to you?

Tribe is a story dedicated to all women, exploring how beauty standards imposed by patriarchal society exploit modern women. The story is divided into six chapters:

Chapter 1 – Bullying

A woman lives alone in the jungle, while across the river, there is another tribe that is very different from her. The people in the tribe find her appearance strange and do not accept her. The men in the tribe bully her, mocking her appearance and menstrual cycle, pulling her hair, and destroying her creations – pottery and doodles. Feeling isolated, the woman seeks to fit in with the tribe and find acceptance, so she begins to change herself.

Chapter 2 – Makeup

The woman embarks on her first transformation. To conform to the tribe’s aesthetics, she starts to whiten her skin. She applies snake blood to her face, causing it to peel like a snake. After the peeling, her skin becomes paler, but it comes with the price of acne and uneven skin tone. Then, she covers her face with powder and paints her face with the same markings as the tribe’s women.

Chapter 3 – Skin

Soon, the woman undergoes her second change – all women in the tribe are required to wear a single-size skin. This skin tightly wraps around the woman, shaping all body types into a standardised figure. Curvy women must cut off excess flesh to fit into this skin, while slender women begin to wear padding around their breasts and hips to fill the skin.

Chapter 4 – Shoes

Lastly, tribe members demand that women wear impractical shoes. These shoes look glamorous and exquisite, but they make walking difficult and require careful attention to avoid stumbling. The woman can no longer run freely and carefree as before. The oppressive rules become overwhelming, and the woman feels fearful and trapped, prompting her to escape the tribe.

Chapter 5 – Runaway

The woman jumps into the river and swims to the opposite bank. The water washes away all traces, clearly reflecting the woman’s image – one completely different from what the tribe’s mirrors showed. She smashes the mirror she brought from the tribe, deciding to accept herself fully, even if it means being alone. She no longer confines herself to others’ rules. Deep in the jungle, the woman discovers unfamiliar footprints that lead to a cave, which, in turn, leads to a brand new and liberating world for women.

Chapter 6 – Linking

In this all-female society, the woman finally finds her belonging. She no longer judges her self-worth solely based on appearance; she has her hobbies, filled with curiosity about the world; she exists as a subject of creation, not an object objectified and following others’ standards; her menstrual cycle becomes evidence of the natural connection between women and nature; she forms close bonds with other women, no longer torn apart by patriarchal lies. The woman no longer feels lonely.

In today’s society, women often feel pressure to conform to beauty standards imposed by patriarchal culture. The new wave of feminism  believe that pursuing beauty is a personal choice and should not be about pleasing the male gaze or succumbing to patriarchal oppression. However, it is challenging to ensure that the personal choices made by women who grew up under patriarchal influence are entirely independent of the male gaze. Indeed, whether women choose to wear makeup or lose weight may be personal choices, but do women have the right to opt-out of these appearance-related decisions altogether? Or do women have the right to detach themselves from society’s notion of ‘beauty’ and reject judgment based on appearance, just like men?

My artwork aims to challenge these notions and convey that deviating from traditional feminine traits does not weaken a person’s identity as a woman. Makeup, long hair, and dresses are not inherent female characteristics but rather societal constructs learned by women in patriarchal societies. Rejecting society’s beauty standards does not equate to losing feminine traits or becoming more like men. On the contrary, it brings us closer to embracing our true selves in their natural state.

Female identity should not be confined solely to society’s aesthetic standards. It should be rooted in being a human being first and a woman second. The value of women should be based on our creativity, intelligence, and character, rather than solely on objectifying us based on our appearance. By celebrating our unique qualities, embracing our authentic selves, and challenging societal norms, we empower women to transcend objectification and reclaim their identities. The essence of femininity lies in staying true to ourselves, embracing individuality, going beyond superficial judgments of appearance, and affirming our worth.

Throughout the creative process, I attempt to tell stories visually and use metaphors to convey feminist ideas. I draw inspiration from various books, such as The Great Cosmic Mother, The Beauty Myth, and The Chalice & The Blade, which provide theoretical support for my artwork. Through this project’s exploration, I hope to deeply reflect on feminism’s impact on my life and social environment, as well as how to approach and analyse things from a woman-centric perspective in daily life.

This project is a reflection of female self-expression and female identity, as well as an important exploration and attempt at radical feminist ideology. Reading about feminist themes has given me thoughtful guidance, and the results of this project have opened new horizons in my illustration career. I am pleased and proud of the research outcomes. I am immensely grateful to all those who supported me throughout this journey and hope that my artwork can convey the spirit of feminism, guiding my future creative endeavours and life.

What mediums or materials did you decide to use, and why?

In the Middle Ages, illustrations were an important medium for spreading ideas amongst a population with limited literacy. Even in today’s society, I believe illustrations remain a powerful and accessible visual language, capable of conveying ideas and emotions in an intuitive manner. Throughout the creative process of this project, I studied various medieval illustrations and learned from them：Medieval Illustrations, Unfolding Action, Decisive Moments, and Perspective of a Flat Surface.

Regarding my artistic technique, I started by gathering inspiration through collages and then proceeded to create all the initial sketches by hand using watercolours. I have a fondness for vibrant colors; they feel like a natural part of my bloodstream. Consequently, I used the RGB format to create the canvas digitally on the computer and ultimately utilised digital drawing to complete this project. To retain the brightness of the colors in the physical realm, I opted for Inkjet printing to produce the final illustrations and zine.

What made you want to study illustration?

When I was a child, there was a secret corner in our house – behind the curtains of the study room. Often, when my parents dozed off in the afternoon, I would sneak away from their side. The chirping of cicadas, the bright light, and the sweltering air seemed to freeze time. The scorching afternoon sun of my childhood poured freely onto me, warming my body that had been frozen by the air conditioning. I felt like a newly awakened frog, and it was illustrations from picture books that awakened and ignited me. The marvellous patterns and colors always gave me a sense of detachment from reality; that was my initial memory of illustrations.

As I grew older, I attended a very strict middle school where the primary task was to achieve good grades, and individuality or hobbies were not encouraged. I found school boring because I didn’t have like-minded friends. The happiest moments in my memory were every Friday after school, going to the school bookstore to buy magazines and comics. For illustrations, it was like a free wonderland where I could briefly escape from reality.

I would secretly doodle on arithmetic paper and textbooks, drawing my disliked teachers in ridiculous ways or expressing my dissatisfaction through comics. These illustrations were passed around in class secretly and were even sought after at one point. I also enjoyed being responsible for the school’s wall murals and wall newspapers. I realised that this was what I truly enjoyed. My ideas received support from my family, so I began studying art in college. The original passion for illustrations drove me to be curious and enthusiastic about learning, creating, and expressing myself.

What are your biggest artistic inspirations? Are there other artists who you admire or who inspire you?

My creative inspiration comes from various sources, with a significant part arising from my fascination with dream cores and peculiar comfort. I am deeply intrigued by mysterious and unknown phenomena, including mysticism, esotericism, and unsolved mysteries. These intriguing subjects constantly spark creative ideas within me. I plan to explore these mysterious elements in my future works, providing viewers with a distinct visual and emotional experience.

I also find delight in the art of ceramics, sculptures, and tapestries found in museums. Vintage objects never fail to trigger my vivid imagination, and I often draw inspiration from their color schemes, patterns, and symbols, incorporating them into my art.

Additionally, toys from the millennium era, such as Barbie and Polly Pocket, serve as another source of inspiration for me. The memories of my childhood and elements from these toys are ingeniously applied in my works, creating a unique atmosphere and emotion.

Aside from visual inspiration, I also enjoy the storytelling effects of comic paneling. O.schrauwen’s graphic novels have left a deep impression on me, with their intriguing paneling and character depictions, coupled with beautiful visuals. This has motivated me to explore the aspects of storytelling in my creations.

Moreover, I am drawn to feminist artist Kiki Smith. Her artworks focus on women’s themes and have provided me with significant insights into female-centered narratives. In my creative journey, I also aspire to express the strength and value of women through art, encouraging viewers to contemplate this topic more profoundly.

Some of the artists I admire include Kosuke Ajiro, B.B. Cronin, and Edward Gorey, they have all influenced and inspired me in various ways.

How would you describe your style? Would you say that it has changed over time?

I believe my style is vibrant and narrative-driven, and colors play a crucial role in my artwork! Comparing to a year ago, my style has undergone significant transformations. While I have retained some of my previous painting habits (such as using bright and vivid pinks abundantly in my compositions), I now focus more on storytelling through intricate details in my artwork. Lines and shapes have also seen many changes, and I believe my style will continue to evolve over time.

If adventure and making mistakes can bring freshness to the artwork, sticking to a fixed style can lead one into a comfort zone, mechanically producing similar images repeatedly, which can become dull in the long run. I used to think that maintaining a consistent style would make me look more professional as an illustrator, so I insisted on using the same artistic approach. However, this led me into a trap: even though I had a cohesive portfolio, it limited the possibilities of my style.

Now, I’m inclined to see each attempt as a new adventure. Only by fearlessly making mistakes, continuously experimenting, and learning from them can I bring fresh elements to my artwork and set myself apart from others.

What does winning the Batsford Prize mean to you?

Winning this award is a significant recognition of my creative work, and I was genuinely thrilled to hear the news! I have decided to donate the prize money to a charity that supports women’s rights, as I want to make a small contribution towards improving the living conditions for women. Overall, this has been a joyful and profoundly meaningful experience for me!

After you have completed your studies, what do you see yourself doing next?

Since my student days, I have worked as a freelance illustrator. After graduating, I continued to embrace the identity of a freelance illustrator, but also faced challenges that were absent during the dreamy days of student life: high living expenses, busy trivialities, and an unstable, chaotic lifestyle.

I aspire to approach reality with a positive and optimistic outlook, seeking a balance amidst the chaos. So, I strive to firmly grasp the helm in the vast sea of opportunities and steer towards my desired goals. In the future, I wish to create more artwork from a female perspective and explore diverse creative domains, such as ceramics, zines, printing, sculpture, and more. Additionally, I hope to receive more illustration commissions, collaborating with brands, advertising agencies, and publishing houses.

Life became more tumultuous after graduation, yet it also felt liberatingly free.

Check out more of Megan’s work on her instagram and her website.

ABOUT THE BATSFORD PRIZE

The Batsford Prize is an annual award open for undergraduate and postgraduate students in the fields of applied art and textiles, fine art and illustration. View the winners and runners up of this year’s award here. The theme for the Batsford Prize 2024 will be revealed shortly…

Interviews for the other winning categories are available to read here:

Artist Interview: Alivia Hoy, Batsford Prize 2023 Fine Art Winner
Artist Interview: Pia Elliot, Batsford Prize 2023 – Applied Arts and Textiles Winner
Artist Interview: Forest Xiao, Batsford Prize 2023 – Children’s Illustration Winner
Artist Interview: Ziyi Wang, Batsford Prize 2023 – Chairman’s Prize Winner

Welcome to our blog series where we meet the winners of the Batsford Prize 2023 (Theme: At Peace). The first interview is with fine art student Alivia Hoy, who was crowned winner of the Fine Art category, as well as the overall winner across the categories with her piece Mattress.

Alivia is studying Fine Art at Loughborough University and her winning creation Mattress is an acrylic painting on a baby’s cot mattress depicting an older man. This work shows a peaceful record of time, reflecting on the moments interacted with the mattress from birth to old age.

About her work, competition judge Vaughan Grylls said:

‘Not only was it a striking piece of work, it also said something about being at peace, which was our theme this year, and it was also very touching’.

Hi Alivia, can you tell us what your piece is about? Can you tell us what initially influenced it and what it means to you?

Mattress acts as a record if time, reflecting on the lived experiences that we share within the contexts of a bed, from birth to old age. This is supported through the blank watch on the subject’s wrist, showing the non-existence of time, or perhaps lack of time left.

After being inspired and intrigued by iconic artists such as Robert Rauschenberg, and Tracey Emin, who have infamously used mattresses as a subject in their work, I wanted my portrait to embed itself within the fabric as the subject and object become one.

Ultimately, I intended this piece to be a peaceful display of the vulnerable and honest connections we share with our bed.

What mediums or materials did you decide to use, and why?

The materials I used were acrylic paint on a baby’s cot mattress. I chose a mattress as my canvas as it emphasised the meaning/theme behind the piece. Rather than it being a mass-produced object, the mattress has been repurposed into an agent of subjectivity.

What made you want to study fine art?

I initially began my education at university studying a Maths degree, however I realised that I mainly chose this as it was what people expected of me. As a result, I decided to change course and study Fine Art as this is where my true passion has always and continues to lie.

What are your biggest artistic inspirations? Are there other artists who you admire or who inspire you?

Hayley Tompkins is an artist that inspires my work, similarly she paints onto found objects, turning ‘things’ into works of art themselves. Gerhard Richter is an artist I admire as he was able to mediate memory in his portrait photo-paintings where he obscures an objects quality through the medium of paint.

How would you describe your style? Would you say that it has changed over time?

I am highly interested in portraiture and concerned with encapsulating a likeness and sense of identity in my work, hence I tend to follow a more realism style. Over time my work has definitely got more challenging as I seek to find the next object to paint on, to create a multifaceted portrait which reveals more than solely the likeness of an individual.

What does winning the Batsford Prize mean to you?

I was thrilled and grateful to have won the Batsford prize not only is it a huge achievement, but also is a reminder to me that choosing to study art was the best decision I’ve made.

After you have completed your studies, what do you see yourself doing next?

Once I finish my degree, I hope to explore teaching art, as well as continuing as a practicing artist and exhibiting my work in wider communities.

Check out more of Alivia’s work on her Instagram.

ABOUT THE BATSFORD PRIZE

The Batsford Prize is an annual award open for undergraduate and postgraduate students in the fields of applied art and textiles, fine art and illustration. View the winners and runners up of this year’s award here. The theme for the Batsford Prize 2024 will be revealed shortly…

Interviews for the other winning categories are available to read here:

Artist Interview: Megan Du, Batsford Prize 2023 Illustration Winner
Artist Interview: Pia Elliot, Batsford Prize 2023 – Applied Arts and Textiles Winner
Artist Interview: Forest Xiao, Batsford Prize 2023 – Children’s Illustration Winner
Artist Interview: Ziyi Wang, Batsford Prize 2023 – Chairman’s Prize Winner

Next up in our Batsford Prize 2023 (Theme: At Peace) Artist Interviews series is illustration student Forest Xiao, who won the Children’s Illustration category for her picture book How To Catch An Idea.

Forest is studying an MA in Children’s Book Illustration at the Cambridge School of Art, Anglia Ruskin University. How To Catch An Idea is a visual story about a girl who travels to look for a world-changing idea, and learns to find peace and contentment within herself and her inner world is transformed.

HI FOREST, CAN YOU TELL US WHAT YOUR PIECE IS ABOUT? CAN YOU TELL US WHAT INITIALLY INFLUENCED IT AND WHAT IT MEANS TO YOU?

The story is about a little girl who sets out on a journey looking for a great idea. Along the way she met all kinds of characters of whom she asked lots of big questions about ‘ideas’. However, in the end the little girl did not find ‘the one’ idea, instead she collected lots of objects/things/memories from her journey.

This story is inspired by my own creative journey during the final module in the MA course. At the time I felt the huge pressure of trying to come up with the best picture book idea and creatively struggled to make decisions. So I thought maybe I could just make a book about it. I want this story to be less about achieving the ultimate goal of finding the big fat impressive idea, but rather about celebrating the journey. I want to show that the process itself can be transformational and idea generating. I hope this can help the reader to spark some ideas or relax a bit when they feel stuck creatively.

WHAT MEDIUMS OR MATERIALS DID YOU DECIDE TO USE, AND WHY?

Because my story talks about collecting bits and pieces, I think it makes sense for it to be mixed media. So I painted on paper with gouache paints, crayons, colour pencils and pens. Then I scanned them to make digital collages. I then added more illustrations on top with Procreate. This process has allowed my work to keep the hand-drawn texture and feel but also have the editing flexibility with digital software.

WHAT MADE YOU WANT TO STUDY CHILDREN’S ILLUSTRATION?

My background is in Graphic Design and my first job was in children’s publishing. I have always loved the format of the picture book and the magic of visual storytelling. So when I found out about the MA Children’s Book Illustration course through my friend, I went in for an open day event and the rest is history.

WHAT ARE YOUR BIGGEST ARTISTIC INSPIRATIONS? ARE THERE OTHER ARTISTS WHO YOU ADMIRE OR WHO INSPIRE YOU?

My inspiration comes a lot from my own life, my travels, people in my life, my struggles… generally things around me. I hope to catch the sparkle in mundane life through my work.

My favourite children’s book illustrators are David McKee, Anthony Brown, Shinsuke Yoshitake…just to name a few. I love the modern art period, artists such as Henri Matisse and Pierre Bonnard.

HOW WOULD YOU DESCRIBE YOUR STYLE? WOULD YOU SAY THAT IT HAS CHANGED OVER TIME?

I love happy colours, childlike shapes and talking lines. My style or visual language varies depending on the specific project/story, I try to choose the relevant material and method for each one. Through the MA course I have definitely discovered new visual languages and I believe I will experiment with more in the coming projects.

WHAT DOES WINNING THE BATSFORD PRIZE MEAN TO YOU?

It is very encouraging for a graduate like me to win this Prize, it is a great recognition. I am very thankful to Batsford books for being so supportive of students.

AFTER YOU HAVE COMPLETED YOUR STUDIES, WHAT DO YOU SEE YOURSELF DOING NEXT?

A lot has happened since finishing the course, all very exciting and new. I am working with a lovely literary agent who supported me a lot and we are chatting to some publishers about my book projects. I am very much looking forward to moving my project into the next stage.

Check out more of Forest’s work on her instagram.

ABOUT THE BATSFORD PRIZE

The Batsford Prize is an annual award open for undergraduate and postgraduate students in the fields of applied art and textiles, fine art and illustration. View the winners and runners up of this year’s award here. The theme for the Batsford Prize 2024 will be revealed shortly…

Interviews for the other winning categories are available to read here:

Artist Interview: Alivia Hoy, Batsford Prize 2023 Fine Art Winner
Artist Interview: Megan Du, Batsford Prize 2023 – Illustration Winner
Artist Interview: Pia Elliot, Batsford Prize 2023 – Applied Arts and Textiles Winner
Artist Interview: Ziyi Wang, Batsford Prize 2023 – Chairman’s Prize Winner

In the last instalment of the Batsford Prize 2023 (Theme: At Peace) Artist Interviews series we meet fine art student Ziyi Wang, who won the special prize of Chairman’s Award for her piece Icarus from Underground.

Ziyi is studying an MA in Fine Art Media at the Slade School of Fine Art, UCL. Projecting on folded papers, this video installation documents an attempt to fly paper planes in the underground. Planes are made from protest posters, mimic doves flying in a downward system. It echoes individual political feelings in a Covid-time Chinese transmigrant situation.

HI ZIYI, CAN YOU TELL US WHAT YOUR PIECE IS ABOUT? CAN YOU TELL US WHAT INITIALLY INFLUENCED IT AND WHAT IT MEANS TO YOU?

My work Icarus From Underground is a video installation of me flying paper planes in the London underground. When I first arrived in London, I saw a dove flying into the underground. The contradictory direction of an up-flying bird being trapped in the downward space somehow echoes my political feelings, as a Chinese distant from the suffering homeland. I folded some widespread posters of Chinese political events into paper planes, again and again, flew them in the underground, mimicking the movement of birds, witnessing the soar and fall.

WHAT MEDIUMS OR MATERIALS DID YOU DECIDE TO USE, AND WHY?

This work is made of A4 paper prints posters, which are everywhere and easy-made, inhabiting a potential to be an open-source political action. The fragility of paper planes as handmade products and childhood toys is a futile optimistic political statement. When displaying this work, I projected the video on an A4 paper with creases, suspending it low to the ground, to keep the flimsy scale and the downward direction.

WHAT MADE YOU WANT TO STUDY FINE ART?

Before studying art, I was majored in philosophy. Contemporary art provides an opportunity to transfer my research interest into more approachable action, and to share and discuss ideas with wider community.

WHAT ARE YOUR BIGGEST ARTISTIC INSPIRATIONS? ARE THERE OTHER ARTISTS WHO YOU ADMIRE OR WHO INSPIRE YOU?

I would say my experience as a trans-migrant student is the biggest inspirations of my works. I pay sensitive attention to the details of life, trying to trace the wider situation and background of them, then problematic daily experience into research and art creation. The works of Chinese artist Yulu Ge can always touch me, humourous and romantic, roots in the social reality and offers alternative action to the pre-existing system.

HOW WOULD YOU DESCRIBE YOUR STYLE? WOULD YOU SAY THAT IT HAS CHANGED OVER TIME?

My works are often media installations. I like to apply simple everyday items and reassemble them to create upside-down structures. After arriving in London, I started to focus more on identity issues and diaspora feelings. Humour and ridiculous are now my tune to discuss the suspicious logic glitch in the power structure.

WHAT DOES WINNING THE BATSFORD PRIZE MEAN TO YOU?

I feel such gratitude of winning the Batsford Prize! It is literally the first step of me as an artist, and a lovely beginning of my career in London. Working with a group of supportive and energetic people from the Batsford Price taught me a lot. Thanks so much for giving me courage and confidence, and to keep believing in the potential of art to go beyond language and communicate.

AFTER YOU HAVE COMPLETED YOUR STUDIES, WHAT DO YOU SEE YOURSELF DOING NEXT?

I would like to continue to develop my art practice in London. Though I can see it is challenging to survive here independently both as a young artist and as a trans-migrant, I also consider these as important experiences, and lively fieldwork of my research interest in artistic labour and identity issue.

Icarus From Underground (2022) from Ziyi Wang on Vimeo.

Check out more of Ziyi’s work on her instagram.

ABOUT THE BATSFORD PRIZE

The Batsford Prize is an annual award open for undergraduate and postgraduate students in the fields of applied art and textiles, fine art and illustration. View the winners and runners up of this year’s award here. The theme for the Batsford Prize 2024 will be revealed shortly…

So there we have all of our incredible winners from this year’s Batsford Prize. We are looking forward to continue supporting emerging artists with the Batsford Prize 2024 edition.

Interviews for the other winning categories are available to read here:

Artist Interview: Alivia Hoy, Batsford Prize 2023 Fine Art Winner
Artist Interview: Megan Du, Batsford Prize 2023 – Illustration Winner
Artist Interview: Pia Elliot, Batsford Prize 2023 – Applied Arts and Textiles Winner
Artist Interview: Forest Xiao, Batsford Prize 2023 – Children’s Illustration Winner

Next up in our Batsford Prize 2023 (Theme: At Peace) Artist Interviews series we meet textiles student Pia Elliot, who was awarded the prize for the Applied Art & Textiles category, for her piece Tranquil Japan.

Pia has just graduated from the Arts University Bournemouth this summer, having studied a BA Textiles degree. Her winning piece Tranquil Japan showcases a range of different techniques, such as illustrative and geometric embroidery samples created using CAD, screen printed experimentation with charcoal illustrations, a pair of sister samples emulating Japanese tea bowls using mono-printed drawing work, works experimenting with the neutral undertones offered by natural materials and more.

Tranquil Japan is a compilation stimulated by the harmony found in traditional Japanese tea houses. The collection features a unique take on every perspective of these historical locations using CAD embroidery, print and laser work to bring a sense of tranquillity into a bespoke, interior space.

Hi Pia, can you tell us what your piece is about? Can you tell us what initially influenced it and what it means to you?

Tranquil Japan is a compilation stimulated by the harmony found in the interior and exterior of traditional Japanese tea houses. The collection features a unique take on every perspective of these historical locations, from the landscapes of the gardens surrounding them to the artefacts found inside. I found these ceremonial objects/ locations particularly fascinating because of their historical and cultural significance, with the earliest tea rituals taking place in the 9^th century. The ceremonies represent both purity and harmony which were aspects I wanted to translate into my design work. Using mixed media illustration and texturally interpretive drawing I created a collection that brings this sense of tranquillity into a modern, bespoke, interior space.

What mediums or materials did you decide to use, and why?

Material investigation was extremely important while developing my collection. I used predominantly plant-based materials having researched the sustainable attributes of natural vs man made. The collection features washi and acid free papers, soft organic cotton, and recycled cherry veneer wood. The use of these materials helped lessen the impact of my outcomes on the environment which as a designer is a key aspect of my ethos. These materials also incorporate the qualities found in traditional Japanese tearoom interiors, embedding a sense of Japanese authenticity in a modern interior space. I was particularly interested in the translucent properties of washi papers and experimented with laser cutting and screen printing onto them. I considered how these papers would work well for lighting and room dividers in a contemporary space and brought these qualities found in Japanese paper interiors into my collection. As well as laser cutting and screen print, I also used foiling, laser etching, digital print and CAD embroidery. These mediums allowed me to experiment and create interesting surface textures. I particularly enjoyed experimental embroidery work and screen printing. I used small amounts of puffy foam, applique and fringing in my embroidery work giving each piece uniqueness and depth. The fringing personifies flowing water and is soft to touch providing a sensory experience that encourages calmness and tranquillity. My screen-printing work involved experimenting with exposing charcoal illustrations and monoprint textures to create unique prints. My wallpapers are a successful demonstration of how these ideas were used to incorporate tactility and interesting quality of line.

What made you want to study textiles?

Since my earliest memories I have enjoyed creating works in all types of media from, paper and textiles to stone. I started my own small illustration business at 16 and from this point knew that being creative was what I wanted to do. However, enjoying everything artistic posed a bit of problem, as I didn’t know which area I wanted to specialise in. With the help of an extremely influential teacher at school I was directed towards the textiles specialism, as this was where I could combine both my love of illustration as well as hands on processes. I have enjoyed every aspect of my degree and I’m so looking forward to what is to come in my future creative career.

What are your biggest artistic inspirations? Are there other artists who you admire or who inspire you?

In the duration of my research, I am constantly enamoured by both contemporary and historical artistic references. I have always been particularly drawn to the work of William Morris. His use of woodblock printing as well as natural dyes are processes that relate to those I use in my own work. I am also inspired by the contemporary edge and detail that can be found in even his most early works which I see as before his time. Furthermore, in my recent collection, ‘Tranquil Japan,’ I was inspired by Japanese innovation company NUNO and their use of both traditional and contemporary textiles process. It was enlivening to see how the combination of these processes can create such unique surface textures. As a surface designer the print and embroidery methods fascinated me and are something I will continue to investigate in my future design work.

How would you describe your style? Would you say that it has changed over time?

My design style has naturally evolved throughout my degree to become sophisticated and innovative. The surfaces I produce are highly influenced by my initial drawings which are graphic and illustrative but also textural and tactile. I have developed methods of translating these drawings on different surface textures using a combination of processes, which show a high level of process and material understanding. The materials that I choose to work with are highly luxurious allowing me to create outcomes suitable for a bespoke interior space. I would describe my most recent collection as intricate, tranquil and contemporary.

What does winning the Batsford Prize mean to you?

Winning the Batsford prize has been a major steppingstone in my newfound confidence of my design work. Hearing the positive feedback from industry professionals as well as friends and strangers has given me clarity of how I belong in the textiles industry. It is my biggest creative achievement to date and an experience I will never forget!

After you have completed your studies, what do you see yourself doing next?

Having completed my studies, I am planning a trip to Japan! It is place I have always wanted to visit and so I felt that now was the right time to do this and get even more ideas and inspiration. After returning from this trip, I am looking forward to throwing myself into industry. I am particularly interested in going into bespoke print design for interiors, but we will see where my design work takes me!

Check out more of Pia’s work on her instagram.

ABOUT THE BATSFORD PRIZE

The Batsford Prize is an annual award open for undergraduate and postgraduate students in the fields of applied art and textiles, fine art and illustration. View the winners and runners up of this year’s award here. The theme for the Batsford Prize 2024 will be revealed shortly…

Interviews for the other winning categories are available to read here:

Artist Interview: Alivia Hoy, Batsford Prize 2023 Fine Art Winner
Artist Interview: Megan Du, Batsford Prize 2023 – Illustration Winner
Artist Interview: Forest Xiao, Batsford Prize 2023 – Children’s Illustration Winner
Artist Interview: Ziyi Wang, Batsford Prize 2023 – Chairman’s Prize Winner