James Richards (b.1983) lives and works in London James Richards seeks out, gathers and re-works disparate cultural materials by scanning through second hand videos, browsing record shops, researching at specific archives or collaborating with other artists. Working with cropping, regrouping and layering this disparate and often anonymous material he aims to bring about something charged, personal, and expressive. Richards's practice stems from a desire to group, subtly modify and alter, to allow association and intuition to guide. Collage and appropriation are at the core of his artistic research into a visual culture he sees as shaped by redistribution and dissemination. His works often incorporate materials made by other artists, driven by a concern for the reanimation, re-contextualisation and rediscovery of video art history. The 2013 group exhibition If Not Always Permanently, Memorably,curated by Richards showcased a selection of moving image works exploring themes of language, trauma and ideas of permanence, memorializing, and the distortions that occur in recalling. Richards was nominated for the Turner Prize in 2014 for his 2013 video installation Rosebud and was a 2012 recipient of the Derek Jarman award. His work has been included in numerous group exhibitions and screenings including Assembly: A Survey of Recent Artists film And Video in Britain at Tate Britain in 2014, and at both the Venice and Lyon biennales of 2013
James Richards | "The award will help me continue to develop my work in so many ways - material costs, curatorial and archival research and the opportunity to take time and space for reflection. It is an honour to receive the Paul Hamlyn Foundation Award for Visual Arts, and critically it will enable to me put 100 percent of my energy into my work for three years without the constraints of juggling freelance income and practice. I will be able to cover equipment and fabrication costs and quickly test ideas through them as well as use this gift of time and opportunity to reflect, research and play in the studio in open ended ways without needing to rush to articulate fixed outcomes or project briefs and funding applications. I feel so very lucky to be supported in this incredibly generous way at this transitional time."