John Atkin

M.A.RCA (Sculpture) 1982-1985. Royal College of Art, London
Henry Moore Scholar, 1982-1985
B.A Fine Art (Painting) 1978-1981. 1st Class Degree

  • Reader in Fine Art
  • Director of Internationalisation (Creative Arts)

Henry Moore personally funded Atkin throughout his MA sculpture course at the Royal College of Art. Since then, he has exhibited his work worldwide: e.g., the Guggenheim Museum in Italy, Museum of Modern Art, Melbourne, and New Orleans Museum of Art.

Atkin is Reader in Fine Art and Director of Internationalisation at Loughborough University. He has lectured at numerous institutions worldwide, including Boston University: Tsinghua University, Beijing: Virginia Commonwealth University: Kansas City Art Institute: Hartford University, CT: Sydney College of the Arts: Victoria College Melbourne: The Curtin Institute, Perth. He is Honorary Fellow, National Academy of Sculpture, Beijing, and Fellow at the Royal Society of Sculptors, London.

简短的传记. 约翰 阿特金

亨利摩尔亲自资助了阿特金在皇家艺术学院的雕塑硕士课程。

自那时起,他就开始在全世界展示他的作品:例如意大利古根海姆博物馆、墨尔本现代艺术博物馆和新奥尔良艺术博物馆。

阿特金是拉夫堡大学的艺术系教授和负责艺术国际化工作的主任。

他曾在世界各地的许多院校做讲座,包括波士顿大学; 北京的清华大学; 弗吉尼亚州立大学; 堪萨斯城市艺术学院; 哈特福德大学,CT; 悉尼艺术学院; 墨尔本维多利亚学院; 帕斯科廷学院。

他是北京的国家雕塑院荣誉院士,和伦敦的皇家雕塑家协会院士。

Atkin has been invited to present keynote papers at a number of conferences worldwide including the 16th China Sculpture Forum. DIAOSU-National Sculpture Magazine of China, where he represented the Royal British Society of Sculptors, and also Sculpture by the Sea Symposium at the Art Gallery of NSW, Sydney, Australia: in addition, he was invited to speak at the Understanding the Post-Industrial City: metropolis, urban renewal and public space: Joint PhD Seminar Faculdade de Arquitectura - Universidade Técnica de Lisboa Bauhaus - Universitat Weimar: and the International Sculpture Centre Conference, Pittsburgh USA.

In 2008 “Strange Meeting”, was commissioned by Beijing Municipal Government, to celebrate the cultural emphasis of the Olympics” One World One Dream” exhibition in Olympic Park, Beijing. This 27-ton marble & granite artwork formed part of an exhibition of twenty-six artists selected from a global application of 2600 people. The popularity of the sculpture has eventuated in its permanent location adjacent to the Birds Nest Stadium. His recent appointment, Honorary Fellow, National Academy of Sculpture, Beijing has stimulated widespread interest in his work, which has prompted numerous opportunities for his output in China.

His landmark project, “Hard Bop” in California focuses on the regeneration of the Fillmore District of San Francisco and collaborating with AXIS Architects on delivering a coherent public realm that addresses the locales indelible heritage as the home of West Coast Jazz.

Furthermore, Atkin has completed a landmark sculpture for the City of Fuzhou, entitled “The Silk Road” as part of an international exhibition of large-scale sculptures that celebrated the opening of the 1st China Youth Games. His 15 feet tall stainless-steel sculpture now stands in pride of place in this 8M populated City south of Shanghai.

Atkin has completed a seminal public art project for the City of Toronto: a large-scale installation artwork entitled Access to Justice, which interprets one aspect of the Canadian Charter of Rights & Freedoms, exploring the context of migration in contemporary life.

His studio practice continues to be the vital element in the development of his work that explores notions of human identity through abstract form. His practice embraces all aspects of cross-disciplinary heritage & culture within the context of re-shaping public space.

Atkin's teaching is informed by his research and he is proficient in a range of traditional as well as digital applications appropriate to undergraduate and postgraduate delivery. He has organised national and international exhibitions of students works in order to give students outward-facing experience of real-world demands within the realm of the professional artist. This has eventuated in students going on to organise their own independent studios, become curators, as well as set-up independent galleries that have a worldwide reach.

Atkin has been the recipient of research grants which have enabled him to bring together pillars of research excellence throughout the University and coalesce colleagues expertise into projects that articulate the importance of art & science. Students have been invited to participate in this research and this has enabled access to high-profile expertise, as well as technical equipment. Drawing underpins Atkin's approach to teaching, whether that's through traditional or digital methodologies.

Conferences & Symposiums

  • 2021. The 1st Tsinghua International Conference on Art and Design Education academic forum. Beijing, China.
  • 2019. British Sculpture Parks. Ecological Hengshui: China International City Sculpture Festival Conference, China
  • 2019. John Atkin. Public Art from 2003 to 2019. Zhengzhou International Sculpture Exhibition, China
  • 2018. Curating in Action-Art as Social Practice. Keynote Speaker. China Academy of Art.
  • 2016. Sculpture in Context – Tradition & Innovation: Lecture “Sundew and other work by John Atkin”: International Sculpture Center Conference, Pittsburgh USA.
  • 2012. Intrigue, uncertainty and humour. Why work in an Integrated Design Team? Breaking Boundaries Seminar. Loughborough University
  • 2011. The 3rd China Changchun World Sculpture Conference. China
  • Blue Symphony. NanDaiHe International Sculpture Conference. China
  • Technologies of Drawing. Sculpture Network. University of Huddersfield
  • 2010. The 16th China Sculpture Forum. DIAOSU- National Sculpture Magazine of China: Sculpture & Communication: The Public in Art conference paper
  • 2007. Landscape Institute Award. London. Urban Design & street furniture: Breaking Boundaries: Ashford: collaboration; Whitelaw Turkington, (Landscape Architects)
  • Olympic Landscape Sculpture Designs Contest for 2008. Outstanding Award. The Organizing Committee of 2008 Olympic Landscape
  • Sculpture Designs Contest. Beijing. China.
  • 2005. The Great Artistic Metropolis: Oxford House, London. Landor: Architecture Journal
  • Sculpture & Design: Symposium. Faculty of Arts & Architecture, University of
  • Brighton: Plenary panel member and exhibitor. Supported by the Henry Moore Foundation. University of Brighton
  • 2004. Sculpture within the Urban Environment. Keynote speaker. Art Gallery of NSW. Sydney Australia.

National & International exhibitions

  • 2019. Slipstream. Selected Artist. Ecological Hengshui: China- International City Sculpture Festival. China
  • 2019. Twister. 5m tall granite sculpture. Zhengzhou International Sculpture Exhibition, China
  • 2019. Alive in the Universe. Group exhibition of Films. Selected by Caroline Wiseman. Palazzo Pesaro Papafava, Venice Biennale. Italy
  • 2019. Sentinel. Human & Nature: China Sculpture Institute: Zhengzhou City, Henan Prov. China
  • 2019. Vanishing Point Nos.7 & 17. Disposition. Bermondsey Project Space. London
  • 2018. Vanishing Point Nos.3. RA250. Royal Academy of Arts. London
  • 2017. Twister: Dialogue with the Emperor Qin: Sino – EU touring exhibition. Antwerp
  • 2017. Sentinel: Marble & Granite: permanent exhibition: Stone Quarry Hill Art Park: USA
  • 2017. Twister: Dialogue with the Emperor: Sino – EU touring exhibition. ULB. Brussels
  • 2017. Tide Wonder: The Secret Garden: The Peninsula Hotel Gallery, Beijing, China
  • 2016. Sneaker Wave: Artwork: “Inside the Secret Garden”: Group exhibition: Museum of Contemporary Art, Beijing China
  • 2016. Warriors: Sino –EU touring exhibition. UK. Rep. Here East: Olympic Park, Stratford, London
  • 2016. Inside the Sculptors Studio: Solo exhibition and film publication: Sculpturesite CA. USA.
  • 2016. Highlights from the Collection: Atkin: Beattie: Auerbach: Shields: Hartlepool Art Gallery: Cleveland: UK
  • 2014. 67 67 Drawbridge: 8 works on paper: Nanyang Academy of Fine Arts: Singapore
  • 2013. Warriors. Kouros Gallery. Ridgefield. CT. USA
  • 2013. Qu Art. China Suzhou Cultural & Creative Design Industry Fair: China
  • 2013. Creative Cities. Two-city exhibition. London/Beijing. Beijing Art Museum: China
  • 2013. Twister. Dialogue with Emperor Qin. Dalian Zhongshan Art Museum. China.
  • 2013. Twister. Dialogue with Emperor Qin. Tallinn Art Museum. Tallinn: Estonia.
  • 2012. Heads Up. Sculpturesite/A New Leaf Gallery, Sonoma, California, USA
  • 2012. The Art of Sport. Guildford Cathedral. Surrey. London
  • 2012. Precious Light-City of God. (With Dave Mach) Galway Arts Centre: Ireland
  • 2012. Creative Cities. Two-city exhibition. London Beijing, The Barbican Arts Centre
  • 2012. Shaanxi Provincial Art Museum. Dialogue with Emperor Qin's Warriors. China
  • 2012. Heilongjiang Art Museum. Dialogue with Emperor Qin's Warriors. China

Public Art

  • 2017. Access to Justice: Public Artwork: McMurty Gardens of Justice: Toronto Canada
  • 2017. Sundew: Large-scale stainless-steel public artwork and seating designs for Corby Borough Council
  • 2017. Mechanomorphic Figure: large-scale bronze & stainless steel sculpture: Seoul. Korea
  • 2016. Sacred Light (Working title) Design proposals for landmark sculpture: Suzhou Sports Centre: Suzhou: China
  • 2015. The Silk Road: (Excellent Award) Production of large-scale stainless-steel sculpture, Fuzhou, China
  • 2015. Concrete Innovation: Arts & Science collaboration. The National Centre for Craft and Design, Sleaford: Lincolnshire
  • 2014. Wheels of Time: Gates: Stourport’s Heritage: Stourport: UK
  • 2013. Searchlight Beacons: London Southend Airport strategic link.
  • Powerhouse. Bull Inn Court. Site-specific artwork: Covent Garden, London
  • Wheels of Time: Urban regeneration & public art project: Phase 1: Wuxi: China
  • 2012. Thames Gateway: London Southend Airport strategic link (design phase for landmark artwork, Searchlight Beacons)
  • The Tumblers. MTLE. Wuxi. China2011.
  • The Road Not Taken. Ordos City. Ordos City International Sculpture Park. China
  • Arcs. 12th Changchun International Symposium: Speaker & Publication: Changchun: China

Stefania Laccu

The research is practice-based, involving the fields of fine art; art technology; and art & sciences. It employs the visual strategies and methodologies of quantum mechanics simulations of particle behaviours and interactions, as a creative framework for reflecting on how science describes and formulate theories on the quantum realm, elaborating new knowledge. Informed by currently debated topics in quantum physics, particularly superposition and entanglement, it aims to creatively and critically investigate the implications of scientists’ interpretations of quantum phenomena on the construction of our concepts of reality; objectivity versus subjectivity; consciousness; and mind-body relationships.

Xiao Fang

The Academic Research of Oriental and Western Neo-Expressionist Print Forms with Various Materials and Painting Languages

The further study of Oriental and Western Neo-Expressionism and blending artistic features of the two genres. Using a variety of techniques in plate-making prints as well as composite materials, and fused by painting language to eventually integrate modern and contemporary Chinese and Western easel painting with the concept of the installation. Experimenting, researching, and analysing the materials used in the works, and combining other artistic language elements to give ideological and spiritual meaning to this whole work.

Graham Hudson

Re-(Body)building the Eugen Sandow Sculpture

The Eugen Sandow Sculpture is in the archive of The Natural History Museum. It was commissioned in 1901, after three months on display, it was mothballed following a row of museum standards: Sandow was naked, Jewish, shrouded in homosexual rumouring and a Circus performer. Sandow was a fitness pioneer and emblem of modernism. Today, the sculpture sits in pieces, too fragile for a physical, or ideological re-build. The project explores the sculpture, from production to conservation, it is interdisciplinary within the fields of contemporary fine art practice, theatre, museum studies, sculpture, health and sports science.

Lulu Ao

The topic of my Ph.D. research is the interaction of visuality and textuality in art, focusing on the use of written language in Post-Conceptual Text Art. It encompasses literary, linguistic, philosophical, communicative, sociological, and cultural studies; particularly, the ways in which words interact with images and vice versa. In other words, it explores the boundary between words and images. This project includes interviews for discourse analysis, and concludes with an interdisciplinary practice-based work. With this study, I wish to eventually reconstruct a new interactive relationship between words and images.