A photo I took at The Hepworth during the May Artwalk.
Stepped out of the lift, and there was this still life!
Sunday, 30 May 2010
Hepworth Wakefield
A photo I took at The Hepworth during the May Artwalk.
Stepped out of the lift, and there was this still life!
Saturday, 29 May 2010
Hymnal 1
Here are 3 of Kat's paintings.Hymnal was visited by 87 people, during the May Artwalk in Wakefield.
8 artists exhibited their paintings, and paintings and artist cards were for sale during the evening.
There was lots of interest shown in the paintings, and many cards were sold.
I had printed out a sheet with the contact details of all the artists, and these proved very popular with visitors.
The Chapel was a fantastic place to exhibit. The windows, some stained glass, some plain, lit the space beautifully, and it was as if the colour from the glass was flooding the chapel. The paintings washed over the brown oak pews, lightening them.
The Chapel glowed with the artworks.
It is amazing what a difference the paintings made to the spacial sense of the Chapel.
Colour can change spaces and buildings, profoundly.
Visitors to Hymnal who then went onto Harry's Bar, commented positively on the venue, and the artwork, as well as the music I had provided to create 'atmosphere'. Everyone enjoyed themselves, and loved having a chance to take a peek into the Chapel.
Kate Taylor, the Chapel Secretary, said she was pleased with the success of the evening, and would like me to do something again in the future!
For those interested, the music included; Goldfrapp; The Unthanks; Panda Bear; Gather In The Mushrooms compilation; Lord Buckley.
Hymnal 2
At the front of the pulpit, Shannon Wishon's print is on the left, Glenis Fergus's oil painting is in the centre, and at the right hand side are Carrie Scott-Huby's paintings.
Hymnal 3
Here you can see Carrie Scott-Huby's 'Flora' on the left, with Berenice Henson's 'Spirit of Earth' beside it, and Madeleine Wuidart's
'Aspiration' on the right of the photo.
Seedland
This one of the paintings I have exhibited at Westgate Chapel for the Hymnal exhibition, on the May Artwalk in Wakefield.
It is called 'Seedland', and is oil on canvas.
Sunday, 23 May 2010
Amalgamate exhibition at Westgate Studios
This is the painting that is being exhibited in the 'Amalgamate' exhibition at Westgate Studios, for the May 2010 Artwalk.
It is oil on canvas, and is entitiled 'MOONTREE'.
It is from a series of artworks I made in 2008, which were exhibited at Wakefield Theatre Royal.
The painting depicts several carved stone balls from the neolithic era. These mysterious objects have turned up throughout England and Scotland. Sometimes through archaelogical digs, sometimes through road building!
To this day, no-one knows their purpose. They are described by archaeologists as 'ritual objects'.
To listen to the sonic artwork made by Steve Regen for the Amalgamate Project, click on the link below.
http://soundcloud.com/schoolofpopularmusic/steve-regan-jan-millington
Hymnal exhibition
The Wakefield Express came out on Friday 22 May, and had a great article in it about the Hymnal exhibition, complete with a photograph of 3 of us invloved in the exhibition.
The photograph was taken in Westgate Chapel.
It also included information about the 'Amalgamate' exhibition up at Westgate Studios, which is also happening during May's Artwalk.
I have a painting in this exhibition too; but my curating of Hymnal means I won't get up to the Studios to see it during the Artwalk itself.
Still, I can't wait to hear the HND students sounds that they made from the noises we created in my studio months ago!
The photograph was taken in Westgate Chapel.
It also included information about the 'Amalgamate' exhibition up at Westgate Studios, which is also happening during May's Artwalk.
I have a painting in this exhibition too; but my curating of Hymnal means I won't get up to the Studios to see it during the Artwalk itself.
Still, I can't wait to hear the HND students sounds that they made from the noises we created in my studio months ago!
Friday, 21 May 2010
my version of 'sashiko' stitching
This is my version of sashiko sewing.
It's black cotton fabric, with white embroidery thread.
It is one component of a larger textile piece that I'm currently working on. As I'm not a trained textile artist, the work is going very slowly...v...e...r...y..slowly!
I'm incorporating sewn pieces; knitted work; hand painted fabric. It's a 'core sampler', as was described to me (thanks Helen!) using geology, and geological representation, as the starting point.
Many hours poring over maps, and geological formations, is informing the work.
Unfortunately, it's nowhere near ready for the Hymnal exhibition! Shame.
Thursday, 20 May 2010
HYMNAL
One week to go; and most things are sorted!
Just some computer lists to do before next Wednesday now.
The 8 artists are;
Glenis Fergus
Kat Hall
Berenice Henson
Jan Millington
Carrie Scott-Huby
Paula Tod
Shannon Wishon
Madeleine Wuidart
Once the paintings are up, I'll take some photos, and put them up here.
Everyone has been so easy to work with, and been so co-operative. It's been a pleasure to undertake this curator-ship.
The posters are printed on the computer; just got some distribution to do. So far it's been, tiring, but not trying!
It is a lot of work for only one night though! Next time, I'd prefer to have some work that stayed up for a wee bit longer!
Of course, I'll miss out on the exhibition up at Westgate Studios, where I've been involved in a collaboration with some HnD music students from Wakefield College. Unfortunately, I can't be in 2 places at once; so will have to miss out on that.
I'll make sure I get to see it after the Artwalk.
Just some computer lists to do before next Wednesday now.
The 8 artists are;
Glenis Fergus
Kat Hall
Berenice Henson
Jan Millington
Carrie Scott-Huby
Paula Tod
Shannon Wishon
Madeleine Wuidart
Once the paintings are up, I'll take some photos, and put them up here.
Everyone has been so easy to work with, and been so co-operative. It's been a pleasure to undertake this curator-ship.
The posters are printed on the computer; just got some distribution to do. So far it's been, tiring, but not trying!
It is a lot of work for only one night though! Next time, I'd prefer to have some work that stayed up for a wee bit longer!
Of course, I'll miss out on the exhibition up at Westgate Studios, where I've been involved in a collaboration with some HnD music students from Wakefield College. Unfortunately, I can't be in 2 places at once; so will have to miss out on that.
I'll make sure I get to see it after the Artwalk.
Friday, 14 May 2010
Approaching Galleries; Part 1
Part 1
On 27th April I attended a workshop at the Arthouse on 'Approaching Galleries'. Karen from The Cupola Gallery in Sheffield led this, and she gave us lots of practical advice. She runs a commercial gallery, so her suggestions were mostly concerning how to contact this type of gallery. But her comments were just as useful for working with other galleries.
Her main message was to be as professional as possible in your relationships with galleries.
Comments included;
Visit any galleries that you think you'd like to exhibit. Get a feel for the place.
Use the recommendations of other artists.
As a means of making the initial contact with a gallery, write a letter to them. Find out the name of the contact person, and address your letter to that named person.
Ask for any 'submission guidelines'.
Write a formal letter, using correct grammar and punctuation. Use headed paper which includes an image of your work.
Write a little bit about your work - talk about the process and the context concerning it. Write as though you know what you're talking about. Sound confident, and as though you are an expert about your work.
Include your contact details, and your e.mail address, as well as your business card. Include an image of your work on your business card.
Also include an 'approximate price range' of your work, for example, '£100 - £2000', or 'prices start at £100' etc.
On 27th April I attended a workshop at the Arthouse on 'Approaching Galleries'. Karen from The Cupola Gallery in Sheffield led this, and she gave us lots of practical advice. She runs a commercial gallery, so her suggestions were mostly concerning how to contact this type of gallery. But her comments were just as useful for working with other galleries.
Her main message was to be as professional as possible in your relationships with galleries.
Comments included;
Visit any galleries that you think you'd like to exhibit. Get a feel for the place.
Use the recommendations of other artists.
As a means of making the initial contact with a gallery, write a letter to them. Find out the name of the contact person, and address your letter to that named person.
Ask for any 'submission guidelines'.
Write a formal letter, using correct grammar and punctuation. Use headed paper which includes an image of your work.
Write a little bit about your work - talk about the process and the context concerning it. Write as though you know what you're talking about. Sound confident, and as though you are an expert about your work.
Include your contact details, and your e.mail address, as well as your business card. Include an image of your work on your business card.
Also include an 'approximate price range' of your work, for example, '£100 - £2000', or 'prices start at £100' etc.
Approaching Galleries; Part 2
Part 2
Include images; - slides; CD; hard copy.
If using a CD, Powerpoint is good, as it can incorporate images and text together. Also ensure that the CD is compatible with PC's, and Macs.
Don't just send a CD; this takes more time and effort for a gallery to look at your work. Karen likes postcards.
Clearly label all your work; include title, media, size, wholesale price.
Karen suggested that writing '6foot x 6foot' may be difficult to envisage on a small computer screen, so try to include something on your photos that indicate scale. Having someone standing beside it gives the gallery staff an immediate sense of the size of the work.
4 - 8 images would be sufficient to give a sense of an artists work.
Include images; - slides; CD; hard copy.
If using a CD, Powerpoint is good, as it can incorporate images and text together. Also ensure that the CD is compatible with PC's, and Macs.
Don't just send a CD; this takes more time and effort for a gallery to look at your work. Karen likes postcards.
Clearly label all your work; include title, media, size, wholesale price.
Karen suggested that writing '6foot x 6foot' may be difficult to envisage on a small computer screen, so try to include something on your photos that indicate scale. Having someone standing beside it gives the gallery staff an immediate sense of the size of the work.
4 - 8 images would be sufficient to give a sense of an artists work.
Approaching Galleries; Part 3
Part 3
Include your CV.
Put your most recent events first. Remember this is NOT the same kind of C.V. as one you would design for a job.
Include any 'jobs' in a short paragraph, perhaps to indicate the way you
a) work and relate to other people.
b) are a hard worker.
c) have particular skills, relevant to the gallery submission.
Don't include uneccessary details such as marital status.
Do include things like B.A. (Hons), or M.A., or any specific academic awards that you achieved when you were a student, or since.
include an S.A.E. - for the return of your images. This is good manners, and should ensure their return.
Include your CV.
Put your most recent events first. Remember this is NOT the same kind of C.V. as one you would design for a job.
Include any 'jobs' in a short paragraph, perhaps to indicate the way you
a) work and relate to other people.
b) are a hard worker.
c) have particular skills, relevant to the gallery submission.
Don't include uneccessary details such as marital status.
Do include things like B.A. (Hons), or M.A., or any specific academic awards that you achieved when you were a student, or since.
include an S.A.E. - for the return of your images. This is good manners, and should ensure their return.
Approaching Galleries; Part 4
Part 4
Take rejection with good grace! Don't take it personally, and be professional about it. It's about the work, not you.
Your artwork/craftwork may be fantastic - it may simply not fit in with the 'style' of the gallery.
Don't think a rejection is forever! It doesn't mean you can't go back a year later, with a new body of work.
Karen was really helpful about practical things like;
Contracts; they are there to protect you, as well as the gallery. They can be changed, if there are things you disagree with. Negotiate these with the gallery.
Delivery Notes; include clear and concise information. Include your name, and your trading name if different. A description of the work - if it's framed, unframed, textiles, ceramics, etc.
One delivery note can include all the pieces you're delivering to the gallery.
Don't harrass the gallery. BUT DO follow up on your initial contact.
This is quite a tricky one, as what one gallery considers to be 'harrassment', another will regard as being 'following up'!
Take rejection with good grace! Don't take it personally, and be professional about it. It's about the work, not you.
Your artwork/craftwork may be fantastic - it may simply not fit in with the 'style' of the gallery.
Don't think a rejection is forever! It doesn't mean you can't go back a year later, with a new body of work.
Karen was really helpful about practical things like;
Contracts; they are there to protect you, as well as the gallery. They can be changed, if there are things you disagree with. Negotiate these with the gallery.
Delivery Notes; include clear and concise information. Include your name, and your trading name if different. A description of the work - if it's framed, unframed, textiles, ceramics, etc.
One delivery note can include all the pieces you're delivering to the gallery.
Don't harrass the gallery. BUT DO follow up on your initial contact.
This is quite a tricky one, as what one gallery considers to be 'harrassment', another will regard as being 'following up'!
Wednesday, 12 May 2010
HYMNAL - the exhibition
On Wednesday 26th May, as part of the Wakefield Artwalk, I'm curating an exhibition of 8 artists.
The work will be on show for just the night of the Artwalk, 5-9pm.
We'll be showing paintings and drawings at Westgate Chapel, which is situated next door to Westgate Railway Station, and behind the Arthouse.
There will also be artists' cards available to buy.
The Beam Gallery is just across Back Lane, and lives in the Orangerie, which previously belonged to the Chapel, in fact!
There's a gate leading from the Chapel out onto Back Lane, and it will be open for the Artwalk, so people will be able to cut through the Chapel grounds as they travel between Beam and the Arthouse.
The Committee of the Chapel have been very kind to permit the use of their building for this exhibition.
I hope lots of people find their way down to visit us on the night. Refreshments will be provided, as they are at all ArtWalk venues!
I look forward to seeing everyone.
The Chapel's website can be found at;
Westgate Chapel
The work will be on show for just the night of the Artwalk, 5-9pm.
We'll be showing paintings and drawings at Westgate Chapel, which is situated next door to Westgate Railway Station, and behind the Arthouse.
There will also be artists' cards available to buy.
The Beam Gallery is just across Back Lane, and lives in the Orangerie, which previously belonged to the Chapel, in fact!
There's a gate leading from the Chapel out onto Back Lane, and it will be open for the Artwalk, so people will be able to cut through the Chapel grounds as they travel between Beam and the Arthouse.
The Committee of the Chapel have been very kind to permit the use of their building for this exhibition.
I hope lots of people find their way down to visit us on the night. Refreshments will be provided, as they are at all ArtWalk venues!
I look forward to seeing everyone.
The Chapel's website can be found at;
Westgate Chapel