Acme Studios, supporting art and artists since 1972


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Duncan Pickstock at the Acme Project Space


Duncan Pickstock, the inaugural recipient of the Rita Harris Studio Award, presents a solo exhibition of paintings at the Acme Project Space made during his year on the award.

Pickstock’s large-scale paintings are an attempt to move on, to move forward and closer to a state of resolve, towards a harmonious conclusion, that is always the goal but one that he accepts is unachievable. Painting is then a journey for Pickstock, a journey that the artist sets out on knowing that the destination, this arrival at a state of resolution, will never be reached.

Accompanying full colour catalogue, with essay written by Paul O' Kane (Artist, Writer & Lecturer) will be available. Designed, printed and supported by Tom Clark and Printhouse Corporation.

'Are we there yet?'
Duncan Pickstock

26.4.2015 - 26.5.2015

Thursday to Sunday 1pm to 6pm
Private View: Thursday 2 April, 6pm to 9pm

Fire Station Artists Announced


The artists selected for Acme Studios’ Fire Station Work/Live Residency Programme 5 (2015-2020) are: Aaron Angell, Holly Antrum, Leah Capaldi, Lucy Clout, Samantha Donnelly, Alex Frost, Seth Guy, Richard Healy, Rizwan Mirza, Geraldine Swayne, Michelle Ussher and Lucy Woodhouse.

The programme is designed to provide a breathing space for artists enabling them to plan ahead with greater certainty, supporting the development of their practice at a time when it is most needed. The programme provides low-cost work/live space for 12 artists from April 2015 until March 2020 and is one the most supportive schemes for professional artists in the UK.

165 applications from across the UK were submitted and the final selection made, from a shortlist of 25, by the panel consisting of Julia Lancaster (Acme Studios’ Residency and Projects Manager), Erika Tan and Ben Cove who are both practicing artists and former Fire Station tenants.

Ben Cove explains, “I was not at all surprised that there was such a high number of applicants as the security of five years in a subsidised work/live space is almost impossible to come by. The overall standard of applicants was very high and selecting 12 was not easy. As someone who sat on the other side of the interview table 10 years ago, I’m fully aware of what this will mean to those selected.”

The Fire Station Work/Live Residency Programme is one part of Acme’s Residency & Awards Programme which this year will help and support 27 UK-based artists. The wide range of programmes include subsidised work/live units, cash bursaries, artist exchanges, purpose-built subsidised and rent-free studios for recent graduates, as well as mentoring, advice and exhibition opportunities.

As a previous beneficiary, Ben Cove understands that the Fire Station “is invaluable to many artists who work hard to maintain and build their practices while meeting the ever increased costs of living and working in the capital”.

Short biographies and examples of each of the 12 artists selected for the Fire Station Programme 5 (2015-2020) can be found at:

Acme IRP seeks Administrator


For over 27 years, Acme IRP has enabled international governments, cultural agencies and foundations to offer artists major work/live residencies in London. In recent years, Acme IRP has expanded to include new partners and programmes. Our mentoring scheme and bespoke programming means we are working with increasing numbers of artists, galleries and arts organisations in London and across the UK.

In order to support this growth, we have created a two day a week permanent post of International Residencies Programme (IRP) Administrator supporting and reporting to the IRP Manager, Lea O’Loughlin.

The IRP Administrator role is being promoted exclusively to practising non-commercial fine artists in order to benefit artists through the provision of secure part-time employment consistent with the organisation’s charitable purposes and recruitment policy.

For more information about the role, including Job Description, please visit:

Love Enqvist at the Acme Project Space


The World Turned Upside Down is an exhibition of new work by Iaspis 2013/14 residency artist Love Enqvist at the Acme Project Space. For this exhibition Enqvist has harvested radical gardening references using them to create an environment for imaginary gardens. Each of Enqvist’s layered references begins with an historical character, whose solitary obsession with gardens was inspired by a spiritual belief. The exhibition is a labyrinth of imagery and language, and at its centre is an invitation to create an imaginary garden through a hypnotic process. The title, taken from Leon Rosselson's folk song of the same name, references the 17th century movement the Diggers and introduces the concept that assumed knowledge can be 'turned upside down'.

‘The World Turned Upside Down’
Love Enqvist

6.2.2015 - 8.2.2015

Thursday to Sunday 1pm to 6pm
Private View: Thursday 5 February, 6pm to 8pm

Acme Studios mentioned in the Lords


A question was asked in a Short Debate in the House of Lords on Monday by Nicholas Trench concerning Government Support for Artists. Under his title The Earl of Clancarty, the practising artist and crossbench peer outlined the pressures facing artists such as low-pay, copyright and the cost of renting a studio. Arguing that “artists need reasonably permanent cheap spaces”, Acme was referred to as “the success story in London”. He went on to explain that: “The keys to that success are the long-term support and the fact that Acme has managed to buy its own buildings. But where that is not possible Section 106 agreements might be used by local authorities in areas where studio space is required, enabling continued employment use in buildings and a guaranteed 100% occupancy. This is something that the Government ought to be encouraging where it is appropriate to do so.”

Acme has successfully used Section 106 agreements to achieve permanent affordable studio space for artists in new-build developments in six London boroughs. It has long argued that local authorities and development agencies can do more to support fine artists through existing planning legislation.

The transcript of The Earl of Clancarty’s question and the government’s response can be found via Hansard:

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44 Copperfield Road
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