Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.

William Braithwaite is a sculptural artist whose work centres on an exploration of repetition, process, and formation, examining the relationship between sculpture and architecture. He aims to create a dialogue between the two disciplines, considering how they inform and complement each other. Through the use of repetitive shapes and forms, he constructs works that emphasise geometry and linearity. William has shown at the Underwater Museum of Art, Florida USA, The London Art Fair, RSA New Contemporary's, Elements of Sculpture at Winchester Cathedral.

In 2025, Braithwaite was named as one of the 26 artists selected for New Contemporaries. As chosen by artists Pio Abad, Louise Giovanelli and Grace Ndiritu, his work will be included in the upcoming New Contemporaries exhibition at South London Gallery, which will be on view from 30 January through 12 April. The show will then travel to MIMA, Middlesbrough, opening on 8 May.

1.  What is your earliest memory of a work of art?

My earliest memory is my grandma teaching me how to draw from a very young age. Those simple sessions sparked my lifelong fascination with form and line, which still underpins my sculptural work today.

2.  Where do you turn to when you’re in need of inspiration?

I deliberately step away and do something completely different. Inspiration can’t be forced. Some of my strongest ideas emerge unexpectedly when I’m not chasing them. Staying busy, open-minded, and engaged with the world around me (from brutalist buildings to everyday structures) tends to let creativity flow naturally.

‍3.  What do you like to do when you need to take a break from your practice?

Sports, or working on the farm where my studio is based. It’s practical too: moving heavy concrete sculptures around means the forklift gets a proper workout!

‍4.  Who is your favourite artist?

It’s a tricky question, as there are so many influences. Rachel Whiteread is definitely up there, her ambition and the monumental scale of her works are incredibly inspiring. Barbara Hepworth has also had a profound impact on my practice. Growing up and going to school in Wakefield, her hometown, meant the Hepworth Wakefield gallery became a formative space for me. Its incredible architecture and collection still resonate deeply.

5.  What’s the biggest crime an artist can commit?

Not giving it one hundred per cent. If you truly want to pursue art as a career, you have to commit fully—seize every opportunity, push yourself, and stay dedicated. If you don’t, someone else will.

‍6.  Which gallery or museum should everyone try to visit at least once in their life?

The Yorkshire Sculpture Park. It’s a fantastic day out, set in beautiful countryside, with world-class sculpture in an open, immersive environment that lets the works breathe and interact with the landscape.

‍7.  What is the worst thing about the art world?

The transition from graduation to professional practice is by far the toughest. Opportunities for emerging artists are limited, and starting from the ground up, building networks, finding visibility, and sustaining momentum, isn’t easy.

‍8.  Whose opinions on art do you actually care about?

I genuinely value all opinions, as everyone brings a unique perspective shaped by their life experiences. That said, I particularly appreciate feedback from people who don’t typically engage with contemporary art or visit galleries. Seeing how non-specialist audiences interact with my concrete works, often approaching them through architecture or everyday familiarity, can be the most revealing and rewarding.

‍9.  What trend in art makes you roll your eyes?

The overuse of social media. It’s an incredible tool for sharing work, but I prefer to use it sparingly, just the highlights, rather than constant posting. The pressure to perform online can sometimes overshadow the actual making.

‍10.  Who are the last three musical artists you listened to?

Kongos, Red Hot Chili Peppers, and Ed Sheeran.

‍11.  What three items would you grab if your house was burning down?

My fiancée, my dog, and as much of my art as I could carry. Being a sculptor means my walls are already decorated with my own pieces—handy for storage, and even handier in an emergency!

‍12.  Is there an artistic skill you wish you were better at?

Painting. I’ve never really gotten into it, and I admire those who can master colour and fluidity in ways that feel so different from the solidity of concrete.

‍13.  What can you tell us about your piece in the New Contemporaries show at South London Gallery?

This is a new body of work in polished concrete and oak, exploring the dialogue between art and architecture. It draws on the powerful, minimalist forms of Modernism and Brutalism, using repetition and geometry to create hybrid structures that feel both familiar and abstract, bridging the functional and the sculptural.

‍14.  What did it mean to you to be selected for New Contemporaries?

I was thrilled, New Contemporaries has such an exciting and prestigious history of supporting emerging artists, and it’s an honour to be part of it.

‍15.  What impression do you hope people get after seeing the piece?

I welcome all feedback, positive or negative. Negative responses can be especially valuable, they motivate improvement and encourage me to consider new angles. In my view, if a work is universally liked, it might risk being a bit bland. I hope viewers engage with the tension between the monumental and the minimal, perhaps seeing echoes of architecture in everyday life, and feel prompted to think about form, material, and space in new ways.

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