Caroline Achaintre

Caroline Achaintre (born December 1969) is a mixed media artist living and working in London.[1] Her work draws heavily on Primitivism and Expressionism.[2]

Caroline Achaintre
BornDecember 1969
Toulouse, France
NationalityUK
EducationKunsthochschule Halle, Chelsea College of Arts, Goldsmiths, University of London
Websitehttp://www.carolineachaintre.com

Born in Toulouse and brought up near Nuremberg, Achaintre obtained a scholarship at the Kunsthochschule in Halle, then came to London to study at the Chelsea College of Arts and then at Goldsmiths, University of London before establishing a studio in Homerton, East London.[3]

Much of her earlier work was in textiles, particularly wool, and Primitivist in style, though she has also worked in installation, and also in ink on paper and ceramics.[4][5] Much of this work draws on traditions of carnival and tribal masks and the potential to both attract and repulse through the materials.[6] She has held a number of residencies and exhibited in a number of locations, including London's Saatchi Gallery, Cell Project Space (London),[7][8] Birmingham's Eastside Projects, and as part of the eighth British Art Show.[6]

References
  1. "CV". Caroline Achaintre. Retrieved 5 March 2016.
  2. Charlesworth, J.J. "Caroline Achaintre, Mooner". Art Review (April 2014).
  3. Karen Wright (4 February 2016). "Caroline Achaintre, artist: 'It's the first time I am in a studio and it's warmer inside than outdoors'". The Independent. Retrieved 5 March 2016.
  4. Sumpter, Helen (March 2014). "Caroline Achaintre". Art Review.
  5. Harbison, Isobel (June 2014). "RSS Focus Studio Visit: Caroline Achaintre". Frieze (164). Retrieved 5 March 2016.
  6. "British Art Show 8 - Caroline Achaintre". British Art Show 8. Archived from the original on 12 March 2016. Retrieved 5 March 2016.
  7. McLean-Ferris, Laura (May 2009). "Caroline Achaintre, Ursula Mayer: Cabinet Afrique". Art Review (32): 107.
  8. "Cabinet Afrique | Cell Project Space". cellprojects.org. Retrieved 2018-05-01.
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