Lowry in London

Hello everyone.

Its been a while since I posted anything. Needless to say I've been very busy having just moved to London to begin my studies at Goldsmiths University of London. Whilst I'm still part of Gallery 42, managing the website and overseeing other developing areas of the business, I now live in the bustling area of New Cross within easy access of central London and its wealth of galleries and cultural gems.

Which is not in any way to say there are no cultural gems around here - never have I encountered such an exciting, diverse place that seems to thrive on the very notion of multiculturalism that in some places in Britain I have encountered, is still just a government ideal and less of a concrete way of life.

Goldsmiths itself, for anyone that has been or heard of it, is pretty much the London hub of creativity and humanities. Whilst part of the larger University of London community, its relaxed atmosphere coupled with its rigorous intellectual stimulation results in a brilliant place to study. Already I have met some fascinating and indeed barking mad people. This wonderful bubble, this hub of the 'now', is a wonderful environment indeed.

So what does this mean for anyone who reads this blog? Well, it means more regular posts. I'm encouraged to keep a journal over my degree so I thought what better way to do that than to focus once again on regular blog updates. I'll be writing reviews of exhibitions and things on in London and with posts written for Gallery 42 (as this is still an independent blog) I'll be relating everything back to Tadcaster and North Yorkshire

Today's post is about the current exhibition at Tate Britain, 'Lowry and the Painting of Modern Life'.

It's the best exhibition I have ever seen in a Tate Gallery. Hands down - and I've seen the Hirst retrospective, the Lichtenstein, the Schwitters, Turner, Monet, Twombly, Glam!... Many exhibitions! But the way this one was curated, the way it was just a little bit more engaging than those other exhibitions because you felt like you were part of Lowry's journey. The curator laid the stepping stones and the etherial hand of the late artist seemed to reach down, sweep you up and carry you gently through. Yet the emotions and images present in the exhibition remained powerful; one could say you leave feeling a new lease of life and appreciation for present being.

The exhibition begins with a modest selection of works, some of which are well known - chances are whichever Lowry work(s) you know, you'll see them here - and some of which I had not encountered before. I shall not list them so as not to give away any spoilers (except one work listed lower down the article) or encourage you to skip rooms to see a work of note. Just don't worry; the piece you want to see is there somewhere. Anyway, these works set a benchmark, a certain start-line, a springboard that allows the rest of the exhibition to flourish in its wake. By this I do not mean the first room is worse than the others - by allowing the exhibition to flourish it is merely modest in its conception and this is a wonderful, well set-out thing, although full of works indeed.

As one encounters immediately the iconic matchstick forms of Lowry's mental design, we find ourselves discovering many of the places we know and love in his works are not of this world. Although based in reality and often studied from the truth, they are moved, changed and redesigned so that the matchstick characters inhabit a world that is not quite our own. Instead it is the closest, often the darkest true comparison to life as Lowry grew up in the North.

Allen Tortice, Tram Scene, Oil on Canvas, 2013 - Collection of Steve Lawson

Photograph property of Steve Lawson , 2013

S I D E   N O T E

The artist Allen Tortice, who exhibits with us occasionally, has recently produced what we at Gallery 42 consider to be his most fascinating work to date. Allen's work is extraordinarily similar to Lowry's, depicting the North as he sees and remembers it, in its black and white form that speaks the truth about what the North is and was. Allen's works are generally a little brighter in colour than Lowry's, and his matchstick forms are somewhat more advanced you might say. What is certainly true is that both painters are great to compare and we have begun plans for an exhibition of 'Nothern Artists'. Both Lowry and Tortice will be displayed together in an exhibition for the first time, alongside other Nothern artists such as those we are close to and artists like G W Birks. More details shortly.


A consideration both in Tortice and Lowry's work is the timeless ephemeral. What do I mean by this, for the ephemeral applies to transitory, fleeting moments? I mean the timelessness of these moments in the greater historical spectrum. There are always conversations, dog-walkers and contemporary advertisements. There is always the blackness of industry (though it is distinctly less coal orientated up in't North nowadays, lad). These are apparently eternal concepts that evolve via different stages of ephemerality.

The forms in the first room of the Lowry exhibition do not change a great deal. But their changes are necessary to keep a certain currency with the moment. Perhaps it is the concepts of these events that are really the timeless aspects? Into the second and third rooms of the exhibition this is the primary consideration as we compare Lowry's work to that of artists like Pissarro and Utrillo as well as Lowry's French mentor, whose name currently escapes me and therefore whose name I endeavour to add in shortly. The Impressionist idea of fashioning 'the moment' into history is certainly one that inspired Lowry and his methods of conveying the present are inspired by these great French canvasses. This was perhaps the most intriguing and indeed one of the least well-known aspects of Lowry's artistic life and inspiration.

Into the fourth and fifth rooms, we see a host of famous canvasses, including that depicting the church at Berwick-upon-Trent (spoiler given, my apologies... But you knew it'd be there if you know lowry), which I believe we have a signed print of selling at Gallery 42. This room explores a key phase of rather rapid production in Lowry's life as he strives to capture the mundane, the brilliant and the overall everyday. As the room divider calls, we are beckoned into the dark world of industry and the dark marks made by man on the landscape. Darkness prevails as we see more of Lowry's health and illness based canvases, which are stark and rather shocking. Lowry's magnificent diversity in choosing his subjects seems almost unparalleled, especially considering the fact they are almost always based on no-one in particular other than those characters seen in the town.

As the last room arrives (or rather, for walls cannot wander curiously through exhibitions, we arrive at it) we are shown the 5 panoramic canvasses together for the first time in history. This is a highlight of the exhibition and one of the lasting examples of Lowry's outstanding vision. Commissioned by the Festival of Britain, aiming to re-invigorate the country post-war (though in my opinion Lowry's sombreness makes this an interesting consideration) as well as celebrating the best that Britain had to offer (there my skepticism ceases indeed!), these fantastical creations are all the more impressive when Lowry reveals he had no idea what to do, instead painting a church or house or building in a certain place and repeating this layering method until a townscape was formed. You can imagine it, yes - but can one ever imagine from which painted construction these canvasses began?

The only thing the last room fails to do, in my eyes, is consider Lowry's death in a full way. This, to me, seems a constant factor of exhibitions. They seem reluctant to confirm the termination of an artist by natural or otherwise means. Death is a subject many artists deal with until they themselves succumb to its inevitable skeletal hand. Why should the curator not confront death him/herself? Why not confront the patrons with the artist's death? For in my opinion this is necessary. The legacy of an artist is as equally fascinating as the art they produce. Yes, I am aware not all artists are dead - but those that are, at least when become a curator, will receive this final chapter immortalised in the exhibition.

For an exhibition is an eternal space. Physically it is only temporary, but its efforts are marked and it should be the case that patrons do not forget their experiences and lessons. To mark the death of an artist is not to terminate his significance in the public eye, rather to draw a solid line that marks the end of their active practice, but the beginning of their active post-humous legacy.

The exhibition's last day is the 20th of October.


Whatmore on Whatmore - An Interview with Nel Whatmore

As you may have read on the Gallery 42 homepage (www.gallery42.com), we are currently displaying the work of our May Artist of the Month, Nel Whatmore.

Tip Toe to the Sea - £3995

Nel Whatmore needs no introduction and we have a fine selection of her work on display. I conducted an interview with her the week of the exhibition and here is how the conversation went:

To start where all interviews start, how did you come to be an artist?

I became an artist initially because my parents were brave enough to encourage me to go and do a foundation course in Art and Design and to pursue what I loved, rather than to play safe and do a Geography degree at Durham. I then did a degree I didn't actually enjoy that much at Leeds but I enjoyed the life and afterwards went on a business course run by New Working Women in Leeds and learnt all the things you needed to know about being self employed. I started as a professional artist in a bedsit in Headingley making hand made cards, to generate enough income to print my first set of limited edition prints. I was awarded a grant by the Princes Youth Business Trust in 1986 which has been an invaluable help which enabled me to exhibit at major trade shows where I met publishers that I went on to work with for over 17 years.

What things have inspired you over your life and career? Do these things change and are some things lasting or enduring?

What has inspired me over my life and career? Wow, that's a big question! Again, my parents have inspired me to do whatever I do to the best of my ability. If it's worth doing, do it well; that adage has driven me on, on many an occasion. People inspire me as does beauty, the natural world and my endless fascination with colour and the effects it has on our loves and lives. The relationship between music and art interests me to and I paint better with loud music than with out. All of these are enduring. The reasons why I painted when I was 20 are not the reasons why I paint now. Hopefully the more you experience life the more there is to say.

How do these things impact your choice of subject matter?

The things that have inspired me directly effect how I work and my attitude to it but also the size and temper of each painting. In terms of subject matter it doesn't really matter whether I paint a sky or a sea or a flower it is usually all about the light and colour and movement rather than the object.


There are few artists, especially those working in Britain today, who can command your mediums so well, especially on such grand scales - why do you love pastel and why do you produce such large works?

I actually don't think they are that large; actually I would like to do them much much bigger but my favourite paper only comes in a limited size.

I love pastel as it's the closest you can be to actual pigment, it is sensuous and therefore evocative, not harsh and detached. Some how merely by being at the end of a brush you are already a step further away from what you wish to convey. It also has a warmth and a luminosity that I adore... I could go on.. suffice to say I love it.

Blue Sky Thinking - Price on Enquiry

You have some interesting views relating to colour, art and the relating perception of the two together? Do they impact your art?

How colours behave when sat next to each other will be a life long  journey of discovery for me, I feel. How it also contributes to our feelings of wellbeing is self-evident, as we all can judge from simply when the sky turns from grey to blue. We are what we paint and what colours I paint reflect often what is roaming around in my head.

You have a stand at the Chelsea Flower Show for the past 7 years and again this year - whats it like to move from small spaces like the Gallery to larger ones like at Chelsea? Do you prefer small or large events? 

As being an artist is for a large part a solitary occupation, it is rather weird at times to go from seeing no one for hours to seeing several hundred thousand within a week. I like both small and large events as you just never know who you're going to meet.

Nel's art will be up for the rest of May and I will post again shortly with what I consider to be highlights of the selection of works. These images are lent kindly by Nel from her website.

Barcelona Buskers - Price on Enquiry

Reviewing the Preview Night

Good afternoon (or morning, evening, whenever you're reading this...). I thought I would write today with my review of the preview evening of John Kaye's exhibition and the Julie Dodsworth Giftware Section. Both are assets to the Gallery and as such, both were well received!

You might recall from reading my earlier ramblings and scramblings that things were a little bit hectic at Gallery 42 before the opening of not one but 2 things on the same preview evening. Its safe to say everyone at the Gallery did an excellent job preparing and executing what was a brilliant evening full of wonderfully presented art and products, so well done to all my colleagues there!


This week its time for me, as a budding art historian, art writer and critic, to review the evening and of course this encompasses the art, the people and indeed - the music! I have included some pictures of John's beautiful art, but they really do not do it justice. This exactly why after reading this, unless you are ill-positioned (either abroad or afar) to do so, you must pop in and see the work for yourself!

So, I've written to you already about John's artwork. I'm going to focus this time on the night, so sit back and allow the anecdote(s) to flow.

The day before the exhibition I wandered into Gallery 42 in my usual sauntering fashion, where I was met with a cup of tea (darling) and my first encounter with Mr John Kaye himself. I did some odd jobs and helped with a few bits here and there, before interviewing John for the blog, which was fascinating - John really is a wonderful, genuine and inspirational character and I do believe, despite only having select chances to speak to him, I have taken much from his experience and from his stories from his travels.

Speaking of his travels, we hear he's in Bulgaria at the moment... Lucky sod ( a lovely sod nonetheless).

I left the Gallery missing several spotlights and looking not quite there yet... But little did I know, 24 hours later and the place would be transformed. Of course I had faith in all my colleagues and in John himself and I was right to. After some time with Mark and Will rehearsing for the musical part of the evening (which did end up being a large, background-edging-into-foreground part of the night), we walked in just in time to comfort James Brown, who was looking lost and confused, before the evening really began. We set up and then went to Sainsbury's. It was here we saw none other than the (in)famous Humphrey Smith, who walked several circles round the automatic doors before getting into the oldest, most battered looking Ford that Will and I had ever seen and driving away.

All this is irrelevant, for such musings detract from the main event. As everyone poured in (not at once, so it was more of a gradual filling of space across half an hour or so) James Brown himself kicked the night off with a range of cracking cover versions of everything popular music from the last 6 decades has had to offer. Paintings began to be sold and John escorted the guests (and of course, himself) towards the complimentary wine and nibbles by the stage (well, it wasn't a stage). Even though the weather wasn't on our side - indeed snow was projected for the duration of the night and beyond - we still enjoyed a great turnout across the evening and a healthy portion of the work was sold.

After James' half hour set I took to the stage to play some songs, before Mark and Will played some stuff also. We then collaborated and from that point on, the music came from the 4 of us, manager Liz, colleague Terry and of course, the Wilson brothers; both Tadcaster treasures. Whilst this was unfolding in the back, I was intermittently integrating myself into the crowd and taking photos on my new(ish) SLR, which I still can't use very well but hey, its a learning process. You can view these on the Gallery 42 Facebook page.

Key artists such as Nel Whatmore and Dave Markham were also present at the exhibition, as well as other prominent characters such as the Mayor, who was kind enough to listen to our music as well. The discussions surrounding John's art were great and there was a wonderful, welcoming atmosphere to the Gallery that served as a wine-fuelled, exaggerated version of that which we offer during daylight opening hours. As the patrons and guests began to dissipate we all congregated at the back of the shop for what turned into a bit of a karaoke, which was great fun. I played my (now revered for its emotion and baritone) version of Johnny Cash's cover of Hurt, originally by Nine Inch Nails, not once but twice, and Mark and Will pumped out Shupadum classics. Liz and Terry played some great covers which I believe they also do in their band, The Elmcats (who are great) and Wilson Brown ended (or not) the night on a perpetual medley of classics.

I had a bloody brilliant evening and I hope everyone who attended did as well - thank you all!

You can view pictures from the night on our Facebook page, which the link www.facebook.com/gallery42 should give you access to (if the link works) and I'll be putting more pictures up soon of the artwork left for sale. My few favourites didn't sell, which is tantalising of course. In the near future I hope to curate a Nothern Artists exhibition at the Gallery, inspired by Tate's forthcoming LS Lowry exhibition and of course the nothern work by Lowry, Birks and Tortice in our own collection - all of which will be for sale in the exhibition. Here's hoping I can get that off the ground!

In definite news, the Julie Dodsworth Giftware Section will be OFFICIALLY opened (i.e by Julie herself, I do believe) this month and there will be another music night to boot. Keep a check on my blog, on our Twitter handle and on the Facebook page for updates. The website will be undergoing maintenance shortly so please, do be aware and you can find our contact details on Facebook should you require them. Cheerio!


An Interview With John Kaye

Today is the 21st of March 2013. It is one day before the preview of evening of Mr John Kaye's exhibition, which opens to the public on Saturday 23rd. Before this exciting exhibition premiers  I thought I would take the opportunity to interview John whilst he was in this afternoon. But first, a bit of background information on John himself. John Kaye was born in 1950 in Marsden, West Yorkshire. He grew up in the 'Last of the Summer Wine' countryside that is Moors Chapels and Co-ops. He attended Colne Valley High, progressing on to Batley Art College for his pre-diploma in art and design. From here he was accepted by Wimbledon for a diploma in Theatre Design and Fine Art.

But John didn't actually go.

Indeed, he changed directions and undertook a 4 year BA in Social Studies, moving into social work thereafter, having had his outlook on the world changed radically by a summer job at a large psychiatric hospital before his degree at Wimbledon would have begun. His work was mainly in the field of mental health, health, homelessness and the voluntary sector. Latterly, he was director and chief officer of MIND and Voluntary Action Leeds, both based in West Yorkshire. These experiences are strong influences on his work.

Despite having little time for painting, exhibitions and collecting helped John continue his love of art and architecture. John picked up painting again at the turn of the 21st Century and shortly after this he took early retirement. His work began with two series:

Shrine - a series relating to his interest in the sociology of religion and the role of religious art in the ritual and development of culture and society; not only the paintings and artefacts but the buildings, temples, iconography and the very environments where religious activities and practises take place.

Garden - a series relating not only to the history of gardens but how gardens define the space in which we live, work and relax. Recurring themes have been mazes, enclosure and paths to buildings and follies which return to the interaction of mankind working within landscapes and religious environments.

His current work continues with these themes but also has brought in the wider areas of landscapes such as the moors, parks and large cities. Recently, driving across Europe to Bulgaria saw John be influenced by lights and colours and different societies. Byzantine art and architecture in Istanbul and Nessebar have become big influences in his work, which can be seen prominently in the works we will be displaying in the exhibition.

Another important part of John's work is his contact with a master icon painter based in Bulgaria. Furthermore, the study of the technique of icon painting and the use of gold leaf have played important parts. This has been developed to bring in the etching symmetry and attention to detail that is a constant feature in his work. His works are in collections in the UK, Bulgaria, America and Australia.

And that is the story of John Kaye. I've had a chat to him and here's what he had to say.

(I'm in bold. John is not.)

Firstly, you tend to elaborate on images and colours in multiple works across the three series (Shrines, Houses and Gardens) we are exhibiting. Can you explain some examples of this and why you do this in your work?

I see one idea that leaps off another, for example the English country house. With this you have to walk half a mile before seeing one thing; but I have created of these various, separate things one imagined landscape. Also it's the landscape in a historical sense. The studies of Beningborough, where some images are historical paintings from when it was built, its part of the historical story of the building. With Shrines it's my interest in the common threads that run through the sociology of religion. A lot of work is underpinned by Russian orthodox, Byzantine, Greek Orthodox, etc. To become a master icon painter you have to follow a certain formula, but I've used the iconography in a much freer way, especially with the etching in the gold leaf.

The other thing with all of these pieces is they read as images, yet are also abstract in symmetry, relationship, spacing and colour, all worked to a greater or lesser extent as a greater abstract concept.

We have several studies of yours for sale - why do you complete such detailed studies and do you do them with a view to selling them?

Initially I do not do them with a view to sell them; actually Rod persuaded me to sell them. I like to try things out but I don't like to leave things unfinished. I tend to work on them. Sometimes I move from the study, to the piece, back to the study. With the Beningborough series, I'm already working on two more paintings which are not on such a grand scale, but will elaborate on some of the features within the current paintings. Funnily enough with these works, because of two paintings which have recently been purchased by the arts fund of a house in Wales, 16th and 17th century ones, I'm now looking to paint the southern face of the hall and incorporate a landscape based on those pieces. It's about multi-perspective. Its a bit like incorporating the two forms of Google - satellite and street view.

There are faux plants in the exhibition space. Do you feel this adds to the exhibition space and it atmosphere?

The idea of the plants doesn't bother me at all, I quite like them. They are an art form anyway, fake or not. Plants play a big part in the paintings I do, sometimes they are free and sometimes they are formal. I think it compliments the exhibition. I have a lot of experience of feeling like I'm intruding in exhibition spaces in places like London and I think in a good exhibition space people feel welcome and at ease, able to ask people about the art and converse and have chatter. Live music also can help people to enjoy it as part of a positive experience.

Why do you find your subjects so fascinating? This goes back many years. When I was first at art college when I was a bit of a rebel. I was told to loosen up but that just wasn't my style. Following this I tended to still have ideas about religion and society. A lot of my actual work was very intense and stressful, so the art I see as linked to that. It's part of me.

Has relating your art and travel together illuminated anything to about yourself and your future? Immensely. I see common links across art and religion and what an important part it played for the Mayans, the Greeks, they didn't see it as art in its own right but as a feature of religion that accompanied it. Only since the renaissance mankind has seen fine art as a different thing. Travelling a lot, architecture, not just art in galleries, influences me a great deal. Travelling via Bulgaria and Nothern Italy has been very interesting. It takes a lot to get images down, I make notes and sketch what I am seeing.

John's exhibition opens on Saturday and alongside the Julie Dodsworth Giftware Section is sure to be a hit!

All Hands on Deck! - Preparing for Dodsworth and Kaye

Ian and Rod constructing the Julie Dodsworth Giftware Section, to open to the public alongside John Kaye's Exhibition on Saturday 23rd March 2013.

ImageWith most of the John Kaye works framed and ready for Friday 22nd's Preview Evening, the pressing matter today for these two hard-working gentlemen was to construct the Julie Dodsworth Giftware Section.

As you might have gathered from my recent writings, I am quite excited for both of these new exhibits to open next Saturday and as such I'll probably be wandering round with my camera taking many a photo. I think the Julie Dodsworth Giftware Section (which shall henceforth be referred to throughout this blog as the JDGS) is integral to the Gallery as we develop and improve our business. There are two reasons I think this.

The first is the physical look and presence of the JDGS as complementary to the rest of the gallery space. Containing a combination of made-in-house and bought shelving and display units, the corner space on the right of the door by the stairs is being transformed. Our Dodsworth giftware will be able to be both stored and displayed in creative, presentable and continously recyclable ways and will be both part of the gallery yet its own entity. Therefore, because of the way the section fits into the existing space and because of what it will add to the space, it complements our existing browsing facilities.

The second reason is I think that it represents a great amount of potential with regards to what we might do, should the section 'hit it off' with you, the public, with the rest of the gallery space. Ian and I have some big plans already, but this is the first plan which all of us here have opined upon and realised as we re-define and re-inforce the identity of the fine arts and framing business we are. There is huge potential with this section and we all really hope that it gets off to a flying start.

For that matter, continued aviation would suffice!

The variation of spaces within the section will enable us to effectively display each beautiful product as part of its respective series. The items may be in these respective series families, such as Rose Cottage, Chocolate Box and Calamity Jane, but they may also be mixed around. Such mingling ought to breed all sorts of homeware design combinations that compliment, contrast and sell - after all, that is generally the aim of a business!

The JDGS promises to add colour and life to a corner of the gallery previously unexplored by most customers. An attractive showcase for Julie's designs and products, it is the first of many exciting steps we intend to undertake to make our business and our artwork even more exciting.

Of course, you 'darlings' which pop in here frequently can look forward to Rod's anticipation with regards to the JDGS and indeed, John Kaye's exhibition.

Both open to the public one week today.

Both, I hope, will be well received.

Both, I hope, will flourish.