Over 100 artists are taking part in The Tate Staff Biennale which will take place on the last week of August on Level 5 of Tate Modern. Over the next few weeks The Rebel Magazine will be chatting to some of the Tate staff who are showing their artwork. Today it's the turn of Helen Dixon
Where did you grow up and what kind of education did you receive?
"I was born in London and grew up in various corners of South London. My journey through education was a little unusual. From the age of three to eleven I went to a Steiner school in South West London. Steiner education is child-centred and holistic in its approach to teaching, developing the emotional and physical skills of children alongside intellectual ones. It also tends to view art and creativity and the development of the imagination as integral to learning. From here I spent three years at an all girls state school in South Norwood and then four years at the BRIT School (strictly behind the scenes!) leaving at 18. After a break, I completed the Foundation Diploma (drawing pathway) at Camberwell College of Arts and then a BA (Hons) in Fine Art at Chelsea College of Arts, graduating in 2013."
How long have you been working at the Tate and what's the best show you've seen there?
"My first shift was back in March 2014, but I’ve been in and out the building a little since then, both at Tate Britain and Tate Modern. Francis Bacon at Tate Britain in 2008 (a little before my time but hopefully still counts!) was a huge moment for me and my understanding of art. I also loved The Shape of Light last year and Conflict, Time, Photography back in 2014 both at Tate Modern."
What can you tell me about the work you're exhibiting in the Tate modern show?
"My practice centres on a fascination with the continuous movement of energy in nature, unending and in constant flux, each emanation wholly interdependent on all others. Big Blue #4 on display in this exhibition, is one from a series of six prints, all of which show the detail of a single wave in isolation, one momentary formation in an ongoing process of continual transformation. The work is made using the cyanotype photographic process, which uses simple chemistry, light and water to produce a Prussian blue image. In this series, autographic line drawings take the place of a photographic negative to create the final print."
What's the best thing about working at the Tate?
"The people. The people you work with, learning about their practices and interests, and those you meet across the counter buying a pencil! I’ve also encountered a lot of incredible art and artists I wouldn’t have otherwise too, which I’m really grateful for."