LAST SEPTEMBER Dan Brady, 24, your average architecture student, was minding his own business, having a nice walk in the park, when he got a phone call telling him that Britain’s most infamous art collector would like to buy his student project “for an undisclosed sum”. Could the collector put it in his next prestigious exhibition at County Hall? And did Brady take cash or cheque? But no, Brady wasn’t daydreaming. It happened. “Only my phone battery was going dead,” he says with a chuckle. “I could only make out this garbledkksshhh someone’s bought kksshhh the piece. It’skksshhh.”
does this remind us of anything ?
By day, Brady is a trainee in the big corporate architectural firm Sheppard Robson, learning the nitty-gritty of planning applications and drainpipe detailing. By night he’s the artist. He’d like the two worlds to merge, though.
He is, he says firmly, an architect not an artist, though he’s perfectly happy for Saatchi to package him as the latter (interestingly there’s no mention that Brady is an architect in the gallery’s accompanying texts). The endgame, though, has always been a full-scale architectural story.
"Saatchi One-off Museum"?
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- bill 4-20-2004 7:36 pm
does this remind us of anything ?
- bill 4-20-2004 7:38 pm [add a comment]
By day, Brady is a trainee in the big corporate architectural firm Sheppard Robson, learning the nitty-gritty of planning applications and drainpipe detailing. By night he’s the artist. He’d like the two worlds to merge, though.
He is, he says firmly, an architect not an artist, though he’s perfectly happy for Saatchi to package him as the latter (interestingly there’s no mention that Brady is an architect in the gallery’s accompanying texts). The endgame, though, has always been a full-scale architectural story.
"Saatchi One-off Museum"?
- tom moody 4-20-2004 8:04 pm [add a comment]