INFORMATION

WORKINPROGRESS was founded in 2003 by Clare Fitzpatrick and Terry Smith to manage his site specific and installation work.

It has since developed into a platform for other projects including, uncovered, Venice Agendas, Strangelove and Speakeasy.

In 2022 workinprogress returns to its original plan and supports Terry’s collaborative performance work.

Terry Smith has created large scale installations and site specific interventions producing work often inaccessible to the public.   In 1994 he began a series of building interventions creating his first wall cuttings in houses ready to be demolished.   Other works that evolved from this period include Capital, 1995 an intervention in Gallery 49 at the British Museum, six wall cuttings at Tate Modern during its reconstruction in 1996, and at MACBA, Barcelona where he fired 35,000 staples - 1m wide and 25m long - into the walls of the museum. Preoccupied with exploring and experimenting in new media, recent shows, have included Broken Voices, The Foundling and last year (2011) Caracol a work made in Caracas, with twenty five singers. The last exhibition Parallax, was a solo show at the John Hansard, a contemporary art museum in Southampton. He is currently working on a projects with performance and dance with a new work Combine. Other projects include Moving Target a solo show of video work in Caracas in November 2012 to January 2013. Ideas City New Museum and the Drawing Center in New York in 2013. and in development of further projects in Cuba and Caracas.

Clare Fitzpatrick has played a central role in the administration and creative development of exhibitions, events, and seminars, which involved working closely with gallery directors, UK / International artists and curators, as well as liaising with funding bodies and embassies. Successfully secured funding and sponsorship in kind from a variety of private and public sources and has managed the budgets of a wide range of projects.  Successful applications include the Henry Moore Foundation, News International Ltd, NEC and the Norwegian Embassy.  

For many years Clare worked in not-for-profit organisations and have managed budgets where projects have exceeded expectations. These range from premiering Willie Doherty’s Ghost Story in partnership with Artprojx in London to project managing SOUNDINGS, Venice, coordinating funding and touring of Nathaniel Mellors Giantbum to overseeing Lindsay Seers’ major installation and publication It has to be this way2, co-commissioned by The National Gallery of Denmark and Mead, Warwick. Working with partners allows us to pool resources including both expertise and financial, and raise money from different sources.