British artist Will Teather studied at Central St Martins and Chelsea College of Art & Design. His studio is currently based in Norfolk, where he holds the post of Artist-in-Residence at Anteros Arts Centre. His work has featured in venues including London's The Mall Galleries, The Blackheath Gallery, Norwich's Art 18/21, Oxfordshire's Modern Artists Gallery and Gallery No 9 in Marciac, France. He has thrice been a finalist in Mayfair's "Cork Street Open Exhibition," was shortlisted for the international "Celeste Prize" 2009.  His artwork has been widely showcased in publications including The International Drawing Annual, Artists and Illustrators, The Artist Magazine and The Antiques Trade Gazette. He also regularly writes art criticism and articles on technique for books and magazines. 
Teather's work is held in a number of notable collections in the UK and overseas. These include Matthew Bourne (choreographer/ director), Peter Stephen (Lord Provost of Aberdeen), Ana Silvera (singer), the Aude Gotto Collection and The Wolterton & Mannington Estate.
In Spring 2007 he was selected from international applications to spearhead the new artist-in-residence programme at Aberdeen Arts Centre. The research undertaken during this period helped to nurture the narrative concepts which underpin his current body of work.
Teather has lectured on drawing courses at The University of Arts London, Leeds College of Art & Design and more recently Norwich University College of the Arts. His workshops have featured in the Times Educational Supplement and, in 2008, he was awarded a college staff award, in recognition of his contribution as a demonstrator for the college's Drawing Workshop.
He is currently co-founding The Chelsea Collective, an international art group made up of postgraduate alumni of Chelsea College of Art and Design.

'I am a figurative artist that mainly produces 2-dimensional objects such as paintings, drawings, photographs and prints. I aim to create artworks that carry a narrative thread that frees the visual imagination from the restraints of reason. In the spirit of magical-realist fiction, the storytelling explores the indefinite space between reality and fiction, horror and humour, fantasy and fact. Vaudevillian characters inhabit a play without beginning or end, where carnival and folk traditions are pastiched together into simulacrum and spectacle. As with Angela Carter's novels, the carnivalesque elements of transgression and excess “allow illusion to work and the improbable to become possible.”(Bowers, 2004)

The artworks employ a series of visual devices that invoke a sense of the Uncanny, creating a world where things are both familiar and alien. Equal importance is often spread across compositional elements, aimed at creating a subtly disorientating lack of central-focus. Many works exhibit what the theorist Maggie Anne Bowers would describe as a “static, tightly unified structure which often suggests a completely airless, glass-like space.” This can be evinced in the graphic detail of the paintings, the use of photo-collage to create implausible depths of field and the formal arrangement to many of the compositions.

Jentsch's original example of the Uncanny is when one "doubts whether an apparently animate being is really alive; or conversely, whether a lifeless object might be, in fact, animate." This may be seen in the doll-like crispness to the figures in the paintings and my adoption of Paula Rego's technique of using mannequins and masks to create characters that are then galvanised into life through paint. Reality is further transfigured in many works by the distortion of spacial relationships and a disregard for realistic perspective. In the spirit of Otto Dix's paintings, floors are upturned and shadows fall at unusual angles.

Many of the protagonists within the artworks are living performers, who have there own narratives that extend beyond the paintings into the realms of theatre and music. As the artworks develop I intend to create an archive of ephemera, collected from their activities both inside and outside of the artworks.'

www.willteather.com