VILLAGE Gallery, in Colliergate, York, will reopen on Wednesday (2/12/2020), when Lockdown 2 ends, to present the first collective exhibition for York’s Westside Artists.
Running until January 23 2021, Immersed will showcase the work of Adele Karmazyn; Carolyn Coles; Donna Maria Taylor; Ealish Wilson; Fran Brammer; Jane Dignum; Jill Tattersall; Lucy McElroy; Marc Godfrey-Murphy; Richard Rhodes; Robin Grover-Jacques and Sharon McDonagh.
Cayton Bay, by Carolyn Coles
“2020 has been an extremely hard year everyone, not least of all for artists, with many exhibitions and events being cancelled,” says gallery owner and curator Simon Main.
“So, Village Gallery is delighted to announce that its next post-lockdown exhibition will feature a group of local artists in their first collective showing.
Beehives & Sunflowers, by Jane Dignum
“The ‘Westside Artists’ is a small group of artists based around Holgate in York, who work in varied disciplines, such as painting, photomontage, print making, collage textile art, pottery and mixed media, and in varied subjects, from landscapes and seascapes to portraiture and abstract.”
Village Gallery’s opening hours are 10am to 4pm, Tuesday to Saturday, with Covid-secure social distancing measures in place.
Moon jars, by Richard Rhodes
“This exhibition is opening in time for everyone to find a truly unique Christmas gift while supporting local artists,” says Simon.
“Aside from its regularly changing art exhibitions, Village Gallery is York’s official stockist of Lalique glass and crystal, and additionally sells art, jewellery, ceramics, glass and sculpture, much of it the work of local artists.”
YORK seascape artist Carolyn Coles will hold her first exhibition since lockdown at Village Gallery, Colliergate, York, from August 4 to September 19.
Favouring a limited palette to give her work identity, simplicity and life, Carolyn paints mostly on bespoke canvasses in oils and sometimes acrylics, applied with palette knives and flat brushes.
“I like to capture atmosphere, usually with a leaning towards dark and moody and generally on a larger scale,” she says.
Carolyn’s formal artistic education began with studying art and design at York College, then specialising in illustration at Hereford College of Art and Design, earning distinctions in the early 1990s.
Too Late To Go Home, by Carolyn Coles
After a career taking in marketing art materials and graphic design and illustration in journalism, Carolyn now devotes her time to painting, exhibiting and selling work both on the home market in York, London, Derby, Manchester and Leeds and internationally too.
Carolyn’s love of the seaside and nature in general is reflected in her new collection. “The impressionistic style allows the viewer to interpret their own story and pull their own memories back into play,” she says.
Carolyn was invited by curator and owner Simon Main to mount her “Oh I Do Like To Be Besides The…” show at Village Gallery.
“We select artists by going out to events like York Open Studios and North Yorkshire Open Studios, Art& and the Staithes art festival… and occasionally we get artists coming through the door, canvasses under their arms, trying to find a place to show,” he says.
Lifeline, by Carolyn Coles
“We met Carolyn and saw her work at her first York Open Studios show back in 2019 and were so taken with her seascapes – many inspired by and maybe giving a different perspective of the Yorkshire coastline – that we started talking about a show.
“The exhibition starting next week is the result of over a year of talking and getting a match in the diary. So, we are delighted we have finally made it and are really looking forward to hanging Carolyn’s beautiful work. And who doesn’t love Filey?”
Here Carolyn talks the easel life with Charles Hutchinson.
You were due to exhibit at York Open Studios and Staithes Festival of Art and Heritage Festival this year, both alas cancelled. Will those works now form the Village Gallery exhibition? “Yes. All except one of my bigger pieces that found its new home just before lockdown; a new one from a smaller set of works, which was bought as a special present for Mothering Sunday; another for a secret wedding, and lastly one I sold, giving all proceeds towards a group in York who set themselves up to make and distribute face visors using 3-D printing technology.
“The festival in Staithes usually happens in September, so I would have expected more new works by then.”
I Spy Something Beginning With W, by Carolyn Coles
What did you do in lockdown when you couldn’t go down to the sea? “I tried my hand in home-schooling, which wasn’t anything like I had imagined it to be. I rearranged furniture and took over our dining room as a studio, which offered mixed results, partly because I’d forgotten what it was like to have an honest live audience offering encouraging suggestions.
“I couldn’t escape to the loft, my old studio space, as it was now my partner’s office from home. And although I couldn’t go to the sea, the lockdown gave me a brilliant opportunity to sit and immerse myself intensively in the seascapes I had just been working on.”
Where have you been painting since lockdown easement? “I’ve been back in my studio with the Southbank Artists group at Southlands Methodist Church for a month now, and I’ve more than welcomed the return to what feels a bit like the old normal.
“I’ve been working on a commission, which is huge, so it’s probably just as well I’m not painting at home.”
Staithes In The Mist – Collectors Huddle, by Carolyn Coles
How does it feel to be painting en plein air again? “I’ve not managed a huge amount of this yet but hope to when holidays come. Luckily, I enjoy working from photos and sketches, as a lot of my field trips are indeed family days out.
“I love painting with my daughter although I end up assisting, which does get easier with time. Nothing beats painting on location.”
6. What draws you to the sea as a subject matter? The sight, the sound, the light, the dark? “Hands down, light is the winner. However, the energy, mystery, its patterns, unexpected treasures and its mood all play a massive part.
“I always feel I’m happy with a piece when I can hear the sound of the sea whispering its relentless chatter. I’ve always loved the sea. It’s just so completely fascinating.
Not Today, Runswick Bay, by Carolyn Coles
“I’ve spent hundreds of hours contemplating life looking at it. I was a big fan of fossil hunting in my twenties, though I never really thought about painting the sea back then. I think partly the reason for painting seascapes now is because it’s a good way to take myself back.”
How do you settle upon the painting techniques you use?
“Over the years, I’ve definitely settled into my way of working. I love using broad, flat brushes alongside palette knives, which enables more random marks, producing less contrived mark-making.
“I prefer oils, the soft buttery texture; the incredible depth of colour leaves acrylics standing really. But I do like to work with speed at times and acrylics do tick a lot of boxes. I also love working in lots of other media; charcoal is sublime.”
Time To Go III, Sandsend, by Carolyn Coles
Do you have a favourite seascape? Sandsend? Staithes? Wherever? “I couldn’t say really as every place has its own merits. I’ve painted Sandsend a lot, but recently Filey has become more prominent. The light there can really be incredible.
“Runswick Bay can be as still as a milk pond – really quite surreal. Staithes has its own beauty but different again.
“I’m not fussy but do prefer quieter spots if I can find them. Saying that, Saltburn is incredible but more for messing about in the sea. Great wave action there.”
In the Yorkshire versus Northumberland battle for the best coastline award, which one wins?! “Ask me again after the summer, as I’m planning a few trips to the Northumberland coast. I doubt it could beat Yorkshire, though I couldn’t say for sure yet. Maybe I’ll get marooned as fellow York artist Malcolm Ludvigsen did at Holy Island. It’s pretty easy to lose the sense of time when painting. I bet that was exciting!”
Crash, by Carolyn Coles
Who are your fellow artists in the Southbank Artists group. What do you most enjoy about working out of Southlands Methodists Church?
“There are 16 studios in all at South Bank Studios, ranging across all disciplines, even performance artists! I’d feel bad mentioning some rather than others, but they really are a great group to work with. A really interesting bunch. I’ve missed seeing them.
“Special thanks are always due to Donna Maria Taylor who gave me the chance to join her in her space at first, and who remains a brilliant source of support. It’s a great space to work in.
“My studio has a wonderful North light, which was lucky. It can be busy at times, but I feel very much at home there.”
The Walk, by Carolyn Coles
Who are the Westside Artists? Will you be hosting a joint show at some point?
“The Westside Artists (York) – fondly known as ‘The Westies’ – came to be when we grouped together in early 2019. Our close proximity to each other was a great support network at the time and the reason for its name.
“Now we keep in touch offering each other support, advice, laughs. Sharing ideas, and even helping out in a material crisis, is perfect when working locally to one another.
“We’re planning to host a joint show in December, when there’ll be around 12 of us exhibiting at Village Gallery. We’re really looking forward to it.”
What’s coming next for you? Any upcoming shows? “I have work being exhibited until next January at York Hospital, presently enjoyed by workers and patients, but no visitors. I’m really sad the Staithes festival has had to be cancelled, though it’s totally understandable obviously.”
“I always feel I’m happy with a piece when I can hear the sound of the sea whispering its relentless chatter,” says York seascape artist Carolyn Coles
Carolyn Coles, “Oh I Do Like To Be Besides The…” exhibition of seascape art at Village Gallery, Colliergate, York, August 4 to September 19. Opening hours: Tuesday to Sunday, 10am to 5pm (4.30pm, Sundays).
For more information on Carolyn, go to her website: carolyncoles.co.uk.
Please note: Village Gallery’s Covid-secure etiquette:
“WE are only a little shop, so to conform as far as possible to social distancing, it will only be possible to have one person/family-friendly group in at a time,” says owner Simon Main.
“Even if you cannot see anyone in the shop when you arrive, please shout out to check it’s OK, as there may be people upstairs. And if you have to wait, please queue responsibly outside, maintaining that essential two-metre separation.”
YORK Open Studios 2020, the chance to meet 144 artists at 100 locations over two April weekends, should have started with a preview evening tomorrow, but the annual showcase has been cancelled in the wake of the Covid-19 pandemic.
However,
with doors sadly shut for the April 17 to 19 and April 25 to 26 event,
CharlesHutchPress wants to champion the creativity of York’s artists and
makers, who would have been showcasing their ceramics, collage, digital,
illustration, jewellery, mixed media, painting, print, photography, sculpture
and textiles skills.
Each day,
in brochure order, five artists who now miss out on the exposure of Open
Studios will be given a pen portrait on these pages, because so much art and
craft will have been created for the event and still needs a new home.
Addresses will not be included at this time.
Meanwhile,
York Open Studios artists are finding their own way to respond to the shutdown
by filling their windows with their work instead. Look for #openwindowsyork2020 to locate them.
“If you see one in your area while taking your daily exercise, take a picture
and let us know,” they say.
A work from Sharon McDonagh’s Fragments series: An exploration into the fragility of life
Sharon McDonagh, painting
SHARON is drawn to painting the “darker side” of York, in particular to
its derelict buildings, against the backdrop of her high-profile past career as
a police forensic artist.
That work required her to draw dead bodies, creating artist’s
impressions of unidentified fatalities from mortuary photographs and
crime-scene information, and you can make the psychologist’s leap between death
and decay if that is your Freudian wont.
“It might seem mad going from being a forensic artist depicting bodies
to doing paintings of decay, but I suppose it’s all an organic path of death
and destruction,” she says of her detailed, intriguing work, marked by unconventional
themes and, in particular, a love of architecture, York’s forgotten buildings
and items left behind.
Sharon McDonagh with her Fragments works at the Blossom Street Gallery’s Urban Decay exhibition earlier this year
Earlier this year, she exhibited her new Fragments series in the Urban Decay exhibition at Blossom Street Gallery, and works on that theme would have featured in her second York Open Studios show too.
“Fragments is an exploration into the fragility
of life,” Sharon says. “The vintage light switches and sockets symbolise the
person, while their last moments and memories are represented by the fragments
of wallpaper and tiles. The last glimpses of life, the last remaining fragments
before they die.
“I thought of light switches and sockets, because of the act of switching on and off lights and then life finally being switched off.” Discover more at sharonmcdonagh-artist.co.uk.
Autumn Hedgehog, linocut, by Jane Dignum
Jane Dignum, printmaking
JANE creates colourful
linocut prints and also makes collages out of pieces of her prints, her subject
matter spanning wildlife, the Yorkshire coast and the city of York.
“I like experimenting with different techniques of
printmaking and enjoy the sometimes surprising results that occur,” she says.
Jane Dignum in her studio
Jane studied fine art at Leeds College of Art, where she started to investigate printing. She always carries a sketchbook and camera and creates designs from photographs that she has taken. Take a look at janedignum.com.
Filey, by Carolyn Coles
Carolyn Coles, painting
PAINTING impressionistic
seascapes and landscapes, Carolyn’s use of palette gives her work identity and
life. She paints mostly on bespoke, stretched canvasses in oils and acrylics,
applied with palette knives and flat brushes.
“I like to capture atmosphere, usually with a leaning towards dark and moody and generally on a larger scale,” she says.
Carolyn’s formal artistic education began with studying art and design at York College, then specialising in illustration at Hereford College of Art and Design, earning distinctions in the early 1990s.
Carolyn Coles: Specialising in seascapes and landscapes
After a career taking in marketing art materials and
graphic design and illustration in journalism, Carolyn now devotes her time to
painting, exhibiting and selling work both on the home market in York, London,
Derby, Manchester and Leeds and internationally too.
Carolyn’s love of the seaside and nature in general
is reflected in her new collection. “The impressionistic style allows the
viewer to interpret their own story and pull their own memories back into play,”
she says.
“I’m interested in re-creating a feeling, an
essence. I love being by the sea or in the hills. It’s a tonic. The noise,
everything, just soaks into me. I like to be playful, bold and subtle in my
work.”
A regular participant in the annual Staithes Art
and Heritage Festival, she also exhibits at various galleries in York. More
details at carolyncoles.co.uk.
Adele Karmazyn: distinctive mix of techniques
Adele Karmazyn, digital prints
ADELE’S mostly
self-taught process involves scanning 19th century photographs, textures and
her own paintings to create digital photomontage artwork, often with a
hand-finished element using inks, oil paint and gold leaf.
Her love of antiques and oddities, old doors and weathered surfaces are the foundations of her work. Bringing people from the past back to full colour and intertwining them with creatures big and small, coupled with delicate foliage, she creates images both sophisticated and playful. Often she uses idioms, metaphors and musical lyrics for inspiration and to add narrative.
Forest Boy, by Adele Karmazyn
Adele studied for a textile art degree at Winchester School of Art, worked
briefly for an interior magazine in London and then set out to see the world.
Many years later, she settled in York and returned to her first calling, completing
a diploma in children’s book illustration in 2015, gaining a distinction.
It was then that she then turned to using her camera and photoshop, but still picking up her paintbrushes regularly and drawing on most days too. “Creating textures, drawing animals and getting the composition on paper is where each image begins,” says Adele.
More info can be found at adelekarmazyn.com.
A North Eastern scene by Nathan Combes
Nathan Combes, photography
NATHAN photographs urban landscapes, working primarily in black and white as he captures the sense of isolation and decaying beauty found in the places that he visits.
“I use a variety of modern digital and vintage film cameras to
photograph places, locations and objects that are often overlooked and deemed
unworthy of attention,” he says.
Recording life in black and white: Photographer Nathan Combes
Inspired by photographers such as Robert Frank, Chris Killip and
William Eggleston, his work is thought provoking, challenging and humorous.
His York Open Studios debut would have featured work from his
most recent project, focusing on the North East. He can be contacted via
nathancombesphoto@gmail.com.
Tomorrow: Lu Mason; Nick Kobyluch; Michelle Hughes; Lucy McElroy and Ian Cameron.
