CARRIE REICHARDT
I'M AN ARTIST YOUR RULES DON'T APPLY

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Carrie is a self-titled Craftivist who works from a mosaic-covered HQ, The Treatment Rooms, in West London. Her work blurs the boundaries between craft and activism, using the craft techniques of mural, mosaic and screen-printing to create intricate, highly politicised works of art. Carrie trained at Kingston University and achieved a First class degree in Fine Art from Leeds Metropolitan. She was Artist in Residence at Camberwell Art College in 2009, following this with a period as Artist in Residence at The Single Homeless Project. She remains a proactive supporter.

Carrie has been involved in community and public art projects for over 20 years. She has designed and consulted on large scale mosaic murals, celebrating with local communities. Community project work is featured in Miravalle, one of the most deprived districts on the fringes of Mexico City. With her partners in Living Space Arts they designed and installed "The Art of Recycling", Harold Hill library, Essex and "The Revolution will be Ceramicised", London Portobello. The most recently commissioned community project with The Treatment Rooms Collective is a mosaic wall in the new Acton Gardens development, "Tree of Life".

in Carrie is frequently called to speak on the use of craft and art as protest. She was invited to speak at National Museums Liverpool’s International Women’s Day lectures in March 2012, and at the British Association of Modern Mosaic forum, held at the V&A October 2012. Carrie’s work has also featured in Ceramics and Print, Paul Scott.
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Inspired by William Morris and the long-standing tradition of subversive ceramics in the UK, Carrie created the "Mad in England" trademark. This branded a series of affordable, subversive souvenirs which countered the overwhelming patriotism of the Diamond Jubilee and the London 2012 Olympic and Paralympic Games in the UK, by celebrating the protestor, tapping into the opposing mood of national dissent.

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As a Craftivist I am much more interested in using craft as a way of spreading ideas and social justice than worrying about how much a piece can sell for.

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