Professor Iain Hutchison features in The Guinea Pig Club documentary on BBC Four.
Working closely with Professor Iain Hutchison, Turner-prize nominated artists Jane and Louise Wilson are exhibiting Undead Sun: We Put the World Before You a display of two video installations at Middlesbrough Institute of Modern Art (Mima), one of the UK’s leading galleries for modern and contemporary art and craft.
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“There isn’t a particular patient who has made me want to stop smoking because I made that decision so early in my life.”
“As a surgeon I don’t want to sound defeatist, but surgery is not the best answer to this societal problem. A combination of regulation, punishment and education to achieve prevention would be the best approach”
Professor Iain Hutchison presented his lecture on the Saving Faces Art Project on 15 April 2015 at the Royal Society of Medicine as part of the ‘Arts, Society and Medicine’ lecture series.
Professor Hutchison opens his home to the Telegraph for a whirlwind tour of his life in medicine, his family and what drove him to set up the charity Saving Faces.
Tambu Makinzi is a 27 year old mum of one from Zimbabwe and lives in Cape Town South Africa. She has been diagnosed with a rare form of bone cancer called chondrosacoma. This cancer caused the cartilage in her face to grow out of control, which also caused her to lose sight in one eye. A new documentary about her struggle airs tonight (Monday 14th September 2015) at 10pm on Channel 5.
For those who missed out the first time, the BBC radio 4 programme, One to One with Iain Hutchison, will be re-broadcast next Tuesday the 14th of April at 9.30am. Presenter, Anita Anand speaks to the Saving Faces Chief Executive about what drove him to become a surgeon.
In an open letter to The Telegraph, a group of prominent surgeons, including Saving Faces’ Iain Hutchison, hit out against the “postcode lottery” head and neck patients are subjected to when attempting to access treatment.
Exhibit portraits of patients suffering from facial cancer, illness or injury by Mark Gilbert