Kip Gresham
Born in Cambridge. Started visiting Kettle's Yard when aged 16 where he met Jim Ede - "thin man with a stub of pencil taking notes'. He used the library a lot and learned his art history there. He studied art at Newcastle and Manchester, and returned to Cambridge in 1982. Started printing for other artists. He was introduced to Bryan Pearce and produced prints from some of Bryan's paintings. At the time of interview he was running his own printing business in Cambridge.
Interviewed: 2008-10-16By: Fay Blanchard, Robert Wilkinson
Length: 48 mins
Media: On 1 track on CD with summary,
Interview id: MYKY24
The relationship between architecture and domesticity
View: Transcript Theme: House as architecture
Actually the gap between architecture and living was not there, which it is in some contemporary buildings of that era, especially the kind of Brutalist ones. The architecture can often dominate the function of the building whereas here the whole thing really was welded together.
Direct link to audio: .mp3
Placing an object as an act of control
View: Transcript Theme: House as artwork
I tend to be a quieter rather than a noisier person and so being able to go to the house and just sit was something very special and that remains true. It's busier now and it's public, but it still remains true, that it's a special place. One of the things that I wasn't aware of at the time but again I am now, was that he shared with a lot of the artists a thread of OCD, you know, the placing of things and the arranging of things and so on, is very much to do with how you control what is inside your life and outside and so if things are bad, then you line up the paperclips on the table in a row or arrange the stones in a spiral on the windowsill or whatever. I hooked into that completely and I think a lot of people do. It's very hard to recognise that we all have this kind of thread, that actually we're vulnerable and the only way we can deal with the chaos of the world is arranging the pebbles but, it's an important factor and it's something, I think, that united him with the artists and it's why he tended to recognise in some of the cooler artists, like Ben Nicholson and so on, this desire to arrange. So the pictures on the wall weren't just where they were because that was covering the damp spot or because that was where there was a gap. It's because that's where it was right.
Direct link to audio: .mp3
