About Peter
Peter Nencini came to London in 1992, to study at the Royal College of Art. Aside from a three-year interlude working in Brussels, he stayed put. A designer and educator, he has worked across print and television for clients such as the New York Times and the BBC. More recently, he has gravitated towards editioned and exhibited work in ceramic, fabric, wood and metal — with a bonding interest in the space between typographic and figurative form. An interview about his work, with Ryan G. Nelson for the Walker Art Center, can be read here. His editioned box and wall works are currently showing at Partners & Spade, New York.
http://www.peternencini.co.uk
Current city: London
Peter Nencini came to London in 1992, to study at the Royal College of Art. Aside from a three-year interlude working in Brussels, he stayed put. A designer and educator, he has worked across print and television for clients such as the New York Times and the BBC. More recently, he has gravitated towards editioned and exhibited work in ceramic, fabric, wood and metal — with a bonding interest in the space between typographic and figurative form. An interview about his work, with Ryan G. Nelson for the Walker Art Center, can be read here. His editioned box and wall works are currently showing at Partners & Spade, New York.
 
A treasure trove in the The City of London. The Archive of London. Strongrooms hold kilometres of shelving; boxes of matter that has somehow been catalogued and categorised in a traceable manner by the public, for academic, genealogical and other research. This beautiful book is from a box on Epping Forest. On the same visit, I looked through photographs of Blitz singsongs in Bethnal Green Underground station, 1980s anti-Thatcher / pro-GLC gig posters and paper concertina optical models of the Crystal Palace.
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The Lambeth Walk is not as billed in the song. Quite a bleak but somehow beautiful mishmash of architectural accident–or–design; a legacy of stray WWII bombs intended for more auspicious near-at-hand targets, such as the Houses of Parliament. I study sculpture here each Monday; a lovely workshop inside. The exterior features one of only a few examples of an outside pulpit, apparently for the minister to take his message direct to the shoppers, in the Walk's heyday.
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I walk a lot; the best way to experience a city. So it's sometimes to do with the way places join up. This cast concrete letterform is a part of the Lycée's gateway. Each of the form's facets arrives at a different character, so six possible letters come from each cast object. I've never been inside the Lycée but always walked through this way up to the V&A, in order to examine again and again how each form works. The surfaces set the tone for the V&A and its incredible Ceramics floor, a perennial inspiration.
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The gallery was extended into a neighbouring Victorian House space about a year and a half ago, with a real skill in judging the meeting point between the contemporary and the conserved. The architects — 6a — were also responsible for Raven Row near Spitalfields (another favourite place). I'm lucky enough to work part of the week next door, at Camberwell College of Arts. This is about great food and good books. The café — a real haven at breakfast time before work — is run by the nicest team of people, with intertwined relationships to Camberwell. This book, designed by James Langdon, represents the kind of find possible in the bookshop and also the quality of conversation content had, over the best coffee.
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In terms of materials and form, these galleries offer so much. On an abstract and typographic level, so useful. This is a section of an altar frieze, from the Eye Temple at Tell Brak (N.E. Syria), dated 3300–3000BC. The Egyptian rooms take the tourist weight; these spaces are much quieter and amenable time spent drawing and thinking.
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Not long in the custody of the National Trust, designed by Philip Webb and commissioned by William Morris, in 1859. Tucked away in Beckenham. William and Jane Morris only lived here for five years; not a happy time of their marriage. But there is humility, authority and even bite, in the domestic scale. The rigorous, holistic design-hand at work belies any sense of souvenir shop Morris-lite. The vegetable garden in late Summer is the place to be.
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More People in London 292

Joseph Piper moved to London to study Graphic Design at Central Saint Martins in 2003. Based in the city, he is a creative with a personal interest in photography and commercial aspirations in branding and e-commerce. Joseph Piper has a soft spot for pugs, Fender guitars & Danish foxes.
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Amanda Eliasson is a Swedish animation director based in London. Her work place primary interest in hand generated processes. She recently graduated with an MA in animation from the Royal College of Art, London. Now she’s a freelance animation director in the UK. “Since I started animating I’ve developed an interest in making flat images transport the viewer into a three dimensional space. I would say my style is playful and naive in contrast to the difficult social subjects I often address in my films”.
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Toby is a London based Graphic Artist who creates his work through a process of photography and digital manipulation, drawing with a dot he combines his strong colour sense and composition to produce pared down visuals with a more free painterly result. Clients have included Issey Miyake, Y-3 , Nike, and producing visuals for the Kylie X World Tour and Jay-Z Blueprint World Tour to name but a few.
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Robin Brown is a visual artist and set designer who specialises in creating tangible landscapes, fictional settings, exacting period recreations, drawing character and narrative through environment. 
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I am a photojournalist from London, and founder of ‘Cheer Up Luv’ a photo and interview series documenting women’s accounts of sexual harassment. 
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