‘I’ve got the NHS bug,’ says York artist Karen Winship as she starts new series after Askham Bar vax centre show launch

Not Just A Vaccine: Karen Winship’s commissioned painting of Nimbuscare staff at York Vaccination Centre, Askham Bar

YORK artist Karen Winship honours NHS staff in her new commission, Not Just A Vaccine, on show in the “Tent of Hope” at York Vaccination Centre, Askham Bar.

Karen’s acrylic-on-canvas work features ten staff from the Nimbuscare team at the vaccination site, where her NHS Heroes exhibition will greet visitors until the end of summer as they wait for their jabs and rest afterwards.

Not Just A Vaccine was commissioned by exhibition promoters Pocklington Arts Centre, ahead of Winship’s poignant portraits of frontline NHS workers taking up temporary residence in York after earlier pop-up displays on the railings of All Saints’ Church, Pocklington, and at Hull Waterside and Marina.

“I was approached to do the new painting when I was doing the publicity for the Hull Marina show in April/May time,” says Karen. “I took photographs of staff, and there are ten portraits within the painting, so it took time to arrange and to get the composition right. It needed 40 to 50 hours, which is unusual for me, as normally I ‘slap them out’ and they’re done!”

Michelle Philips, director of quality and patient experience (Nimbuscare), left; Dr Nick Bennett; Zoe Spowage, St John’s Ambulance first aider; Karen Winship, artist; Sam Chapter, security, and Melanie Carter, lead nurse, (Nimbuscare) stand in front of Karen’s specially commissioned artwork.

Pocklington Arts Centre (PAC) director Janet Farmer says: “Throughout the pandemic, we’ve been making art accessible for all by taking two exhibitions by two fantastic York artists, Karen Winship and Sue Clayton, on tour to various locations in the region.

“When the opportunity to take NHS Heroes to the York Vaccination Centre arose, we couldn’t think of a more fitting location for these stunning portraits that have been created by a very talented artist.

“We hope they brighten up the space while honouring all those who have worked so hard at this challenging time.”

Karen says: “It has just been incredible to have been able to have my work toured across the region and seen by so many people thanks to PAC, and now it is in such a fitting, poignant location.

“The specially commissioned piece really finishes the collection off nicely and is a timely and relevant tribute to the team at the York Vaccination Centre, as well as to all NHS staff who have worked on the frontline throughout the pandemic.

Michelle Philips, director of quality and patient experience (Nimbuscare), left, artist Karen Winship and Sara Morton, of Pocklington Arts Centre, at the launch of Karen’s NHS Heroes exhibition at York’s Vaccination Centre

“There’s still much work to be done and I hope my portraits bring some joy into the working day of the Nimbuscare team, as well the hundreds of daily visitors to the site.”

Around 1,500 people pass through the “Tent of Hope” at the Askham Bar NHS Vaccination Centre, where 3,000 visitors file through the site at its busiest times.

Michelle Philips, Nimbuscare’s director of quality and patient experience, says: “Showcasing art within the ‘Tent of Hope’ brightens up everyone’s visit to the vaccination centre and we’re so grateful to have yet another fantastic collection from the very talented Karen Winship. We’re delighted with the special piece of art she has done for us which will be treasured by us all.”

Karen started her career in graphic design before gaining her teaching degree and going on to work in a maximum-security prison as head of art. She paints mainly in acrylics, always looking for the narrative within an image, and that narrative at present revolves around the NHS.

Karen Winship’s acrylic portrait of her daughter Kelly, an occupational therapist at York Hospital, from the NHS Heroes exhibition

“I’ve got the NHS bug, so I just seem to be obsessed, or maybe ‘upset’ is the better word for how I feel about the way the NHS is being overrun at the moment, and staff are just not being cared for,” she says.

“You can see how stretched they are, because so many staff are off with Covid or they’ve been ‘pinged’, which means they’re even more down on numbers. They’ve had to deal with the Covid pandemic and they’re tyring to catch up with everything else, so I’m now doing a series showing the exhaustion of the paramedics, doctors and nurses.

“I’ve done three so far. I’ve got a source close at hand because my eldest daughter Kelly [who features in the original NHS Heroes portraits] is an occupational therapist at York Hospital.”

Karen has further sources of inspiration for her subject matter. “My ex-husband husband, Kevin, is a paramedic and my father – who’s no longer with us – was a paramedic. I use references such as Kevin’s uniform for stock images,” she says.

Constant And Great, from Karen Winship’s ongoing new series of NHS paintings

Among the new series is the tribute piece Constant And Great. “I’ve taken an image of the statue of Roman Emperor Constantine the Great, outside York Minster, and adapted it for the painting, where the figure still looks like him but now he has logos of key workers.

“He still has his cape but now it’s more of a hero cape, and he has a pair of trainers, thrown off by his bare feet. He has a nurse’s uniform and a stethoscope around his neck, and he’s now holding a staff of life, rather than a sword, in one hand, and a mask in the fingers of his other hand.”

Karen is “not sure what’s going to happen next with the series”, but says: “It would make sense, as it’s all about the NHS, to have the paintings put on show at York Hospital, but I already have my series of dementia paintings there, so I don’t really know what the plans are.

“Hopefully, I’ll get them shown at City Screen and I’ll approach York Art Gallery, as they’ve both shown my NHS Heroes portraits.

“These paintings are bursting out of me right now. I think one of the dementia paintings has been taken down at the hospital for being ‘too depressing’, but that’s what we’re going through. These are troubled times.”

Karen Winship’s self-portrait as she worked on her NHS Heroes painting of daughter Kelly

‘Plates of pears or simple pots of flowers elevated into iconic emblematic art? We had to give Carol Douglas a ring for that…’

York artist Carol Douglas, left, with According To McGee gallery co-director Ails McGee

CAROL Douglas: Hygge and Expressionism part two launches at York gallery According To McGee on Saturday at 12 noon.

Greg and Ails McGee continue their commitment to contemporary painting with the latest collection by the York artist, who last exhibited at the Tower Street art space between lockdowns last year.

“We love Carol’s art,” says gallery co-director Ails. “We showcased her 2020 collection in the autumn and we weren’t surprised at how well they connected. The paintings focus in on the simplest, most humble items of homelife and reassemble them as iconic compositions.

“It’s her style, and you can tell who it is from across the room, which is a litmus test of success in itself.”

Carol’s Hygge and Expressionism part one brought the gallery a new type of discerning client when holding court at According To McGee, notes co-director Greg.

“When a gallery has to constantly rely on a static cohort of collectors to keep the commercial side of things going, that gallery is in trouble,” he says. “We have for 17 years made the point that if you want contemporary cityscapes, we have them. Semi-abstract seascapes? We have them too.

“Plates of pears or simple pots of flowers elevated into iconic emblematic art? We had to give Carol Douglas a ring for that! And she does it with such control, such a mischievous vision, that her work reminds me of William Carlos Williams’s poem This Is Just To Say.

“Those cold plums on the plate were more than just plums! So there’s the heft of something simple beautifully depicted that seems to connect to a whole new type of client that we’re really grateful for.” 

Digital artist Nick Walters orchestrating the Hope nocturnal digital display at According To McGee in York

Carol Douglas’s exhibition follows Hope, the three-week nocturnal digital display of artwork by children from all over the world, a project spearheaded by Denmark’s Viborg and guided to York by Chris Edwards, chair of REACH and the York Cultural Education Partnership, and Chris Bailey, clerk of the York Guild of Media Arts.

“If the intention was to remind a slowly returning cultural sector that According To McGee was alive and kicking, it certainly worked,” says Greg. “The response has been humbling. We’ve had families from participating York schools attending, and teenagers we’ve worked with through our charitable arm, New Visuality, sending me photos of the illuminated projections of their artwork.

“It’s been great and just underlines how innovative displays with digital artists Nick Walters and Pritpal Rehal can complement the more traditional thrills of coming to see a beautifully curated exhibition of beautifully composed paintings.” 

Now the focus turns to Carol Douglas’s paintings, with the McGees settling on maintaining the title Carol Douglas: Hygge and Expressionism from last year’s campaign. “Honestly, the title says it all, and the nature of the work has not shifted at all since last year,” says Ails.

“The ‘hygge’ is there to suggest the reassuringly domestic nature of the subject matter, and the ‘expressionism’ highlights just how much of the success is down to Carol’s wholly idiosyncratic insistence on depicting simple things with such iconic power. She is a joy to work with and is a real boost to York’s cultural community.”

Carol, 2018 winner of the Adult & Access Award for Art & Design Lifelong Student of the Year, says: “I hope that people who see my work find it both visually exciting and somewhat amusing. The domestic has always been my focus and speaks of my personality and history.”

Carol’s artworks can be viewed at According To McGee every Saturday, 12 noon to 4pm, or by appointment on 07973 653702 on weekdays. Alternatively, they can be discovered online at accordingtomcgee.com/collections/carol-douglas.

All are welcome at Saturday’s midday launch, Covid compliance allowing.

Move over football stickers! York illustrator MarcoLooks launches Print Swap for fellow artists with exhibition finale at Rural Arts

York artist Marc Godfrey-Murphy: Launching MarcoLooks Print Swap for artists on Friday

YORK illustrator, printmaker and erstwhile CBeebies animator Marc Godfrey-Murphy, alias MarcoLooks, is launching a Print Swap from Friday to bring together artists across Yorkshire and beyond.

Marc is inviting peers and fellow illustrators and artists who sell their work online – “even if it’s just an Etsy shop with two or three listings,” he says – to take part in the MarcoLooks Print Swap to share and support each other’s work.

Applications to join the Print Swap will be open from April to June. Artists involved should send Marc a batch of their prints, then in return, they will receive a selection of new prints from the other artists taking part.

To celebrate, at the end of summer, when the swap finishes, the Courthouse at Rural Arts, North Yorkshire’s only professionally run cross-discipline arts centre, in Thirsk, will be home to an exhibition of all the prints in the Print Swap. 

Marc has been selling his prints, cards and stationery items in York since 2018. Now, sensing there sometimes can be a turf war among artists who might create similar work, he felt inspired to set up the print swap to encourage and strengthen the sense of community over competition. 

“The lack of events over the past year has driven me to create something community focused for indie artists to get involved with,” he says. “It’s also my 40th birthday this week, so what better way to celebrate than all coming together to share our work with each other, and what better way to finish the swap than by showing all the prints that have taken part at the beautiful Rural Arts in Thirsk?

“I’ll be co-ordinating the print swap, so everyone taking part receives a portfolio of prints from the other artists taking part. They can hang them in their studio and hopefully be inspired by them and connect with the other artists whose work they might be unfamiliar with.”

The Print Swap is launching on April 16. Any artist can take part in the print swap, providing they sell their work either on their own website, at events, or through a platform such as Etsy or Folksy. For more information, visit Marc’s website at marcolooks.com and click on “Print Swap” from the top menu.

Here CharlesHutchPress learns more from MarcoLooks about his Print Swap.

How widely will you be spreading the reach of Print Swap?

“The MarcoLooks Print Swap is really aimed at indie artists based in the UK. That being said, I belong to a couple of international art groups, and I know that some of my artist friends from across the world would be keen to get involved.

“Leaving them out feels against the spirit of the connection and collaboration I’m trying to create. So, it will be open for anyone wishing to get involved regardless of location. I’m hoping, though, that I’ll be seeing a lot of my York-based artist friends getting involved to help represent one of the best cities in the world!”

What made you choose this model for the Print Swap: straight swaps, as with football stickers, rather than any financial exchange?

“I often swap my work with other artists. It creates a heavier sense of value on the work somehow, like it’s become more of a gift exchange, than anything to do with money. It feels more special.

“Having taken part in similar exchanges before, it’s really exciting when you look through the prints you’ve been sent and the thrill of falling in love with an artist’s work who you’ve never heard of before. It’s like a Secret Santa for art prints.

“There will be a small admin fee to take part, which largely covers return postage costs. In the past, I’ve taken part in exchanges which have charged up to £20 to get involved, but I wanted to make it as accessible as possible.

“Being a small business, I know that every expense counts so I didn’t want to create any financial barriers to stop other artists – with their own indie businesses – from getting involved too.” 

Marc Godfrey-Murphy at a York Printmakers show

On which date is your birthday? 

“I’ll be turning 40 on Thursday 15th. Eeek! I really wanted to do something special to mark the occasion, so this is it! Age is just a mindset though, right?”

What exhibitions do you have coming up this year?

“Right now, my focus is on getting back to art markets and making a success of the MarcoLooks Print Swap. I always update my Instagram with any shows that I’ll be taking part in, so be sure to follow me over there (@marcolooks) for all the latest updates from me.”

Will you be taking part in York Open Studios again in July?

“Sadly, I didn’t get accepted into Open Studios this year. The pieces I submitted ‘for the judging panel’ were from an ongoing set of monotone, abstract line illustrations based around the themes of body image and eating disorders among men in the LGBTQ+ community.

“They told me the idea didn’t feel developed enough. That feedback stung a bit, to be honest, especially considering the issue is seldom brought to the table, but hey.

“So here I am now, creating more art-based opportunities, for more artists, with no auditions. Everyone can get involved, the only prerequisite is that you are a professional artist, which, for these purposes I’m defining as you sell your work, either in an Etsy shop, somewhere else online, or at live markets.” 

What MarcoLooks works will you be looking to swap?

“Ah ha! I haven’t created it yet. I know what it’s going to be, though. The Print Swap is open until the end of June, so there’s plenty of time to get creative. Each artist will send me six copies of the same print. Five will be distributed to the other artists, with the sixth featuring in the show at the end of summer/in the autumn.”

Will works be for sale at the Thirsk exhibition?

“Yes. I’m keen to support our community of artists wherever I can, so all artists taking part will have the opportunity to sell their print. They will have their details available for anyone looking to buy more work by an artist who caught their eye. It’s going to be great!

“The exact exhibition dates are yet to be announced.”

The logo for MarcoLooks Print Swap

This is how MarcoLooks Print Swap will work: 

WHAT: The Print Swap is open to all artists within the UK. The only caveat is you must be selling your work somewhere online, either Etsy, Folksy, your own website or at markets.

ACCEPTED MEDIA: Art print. Any paper is fine. There is no theme. Your name and social media handle should be on the back of each print, so your recipient will know where to find you.

PAPER: A5 (210 by 148 mm). Printed image size is up to you. You must provide six prints. If you want to submit part of a limited edition, that is completely up to you.

THE SWAP: A portfolio of five randomly selected prints will be mailed to each participant at the end of Summer 2021 (exact dates TBC). MarcoLooks will keep one print from each participant submitted to the exchange for exhibition and promotional purposes. Participants will be notified when all print swaps have been shipped.

PARTICIPATION FEE: £6 to be paid at  https://www.marcolooks.com/pages/marcolooks-print-swap

DEADLINE: Prints and all participation fees must be received by Wednesday, June 30 2021.

EXHIBITIONS: All submitted prints will be exhibited, in the autumn, in the Courthouse at Rural Arts, in Thirsk. Additional venues and exhibitions may be added along the way…watch this space!

REPRODUCTION: All participating prints will be put in a web gallery and may be reproduced digitally to promote additional exhibitions or future exchanges. Proper credit will be given to the artist on reproduction; no monetary value will be associated with reproduction.

​IMPORTANT: All prints must conform to the guidelines. Any prints that do not fit the guidelines will be returned to the artist. *£6 GBP participation fee is not refundable.

SHIPPING: Your complete edition of six prints should be posted in a hard-backed envelope. Prints should be mailed to MarcoLooks, Blake House, 18 Blake Street, York, Yo1 8QG, along with your order number and legible entry form. Prints will not be accepted without £6 payment. Payment is due no later than June 30.

SOCIAL MEDIA: As prints arrive, Marc will be uploading images to the MarcoLooks Instagram, showcasing the variety of work and artists joining the exchange. Follow the exchange on social media: Instagram @Marcolooks. Social media savvy? Hashtag your works in progress or completed works using the hashtag #MLPrintSwap.

Jake Attree’s new York works to go online in Messum’s virtual show from February 3

Red Roofs, York, From The Bar Walls, oil on panel, by Jake Attree

LOCKDOWN 3 may have a multitude of restrictive minuses, but it means you will not miss York-born artist Jake Attree’s new exhibition.

Forty-four new works should have been going on display at David Messum Fine Art, in Bury Street, St James’s, London. Instead, the show is moving to a virtual platform online at messums.com from February 3 to 26, bringing art “from our home to yours”.

This will be accompanied by a £15 fully illustrated catalogue with a foreword by author, art critic and curator David Boyd Haycock; a short film with commentary from David Messum as he explores and discusses the paintings, and a virtual gallery that allows “visitors” to experience the complete exhibition.

Landscape By Water (The Red Hill), oil pastel, by Jake Attree

“Picture fuses with place, and place with picture, in a cyclical relationship that serves to produce something entirely new and very personal,” says Boyd Haycock of Attree’s new works.

On show online will be a combination of Attree’s monumental depictions of the streets of York, verging on abstraction, and a group of oil pastels inspired by the Flemish Old Master Pieter Brueghel.

“Many of the works have advanced upon stylistic developments that were seen in Attree’s earlier exhibitions with Messum’s,” says Katie Newman, Messum’s managing director at The Studio, Lord’s Wood, Marlow Common, Marlow, Buckinghamshire.

Jake Attree sketching in his home city of York

“The small blocks of colour that characterised many of the works from the Ancient City series exhibited in 2013 have moved in an ever-increasing abstract direction, hovering at times on the cusp of complete abstraction.” 

Attree, 71, was born and grew up in Grange Garth, in York, where his first art teacher was John Langton, another northern painter fascinated by how light falls on buildings and landscapes.

“York is a majestic city with a long, extraordinary history – from the Roman metropolitan centre to the Viking port of Jorvik, to the great medieval walls and Minster. Here is layer upon layer of history and those seams of history are like the layers in Attree’s drawings and, in particular, his paintings,” says Katie.

FaCade 2, York, oil on panel, by Jake Attree

“Thus, recent works such as the Red Roofs, York From The Bar Walls series are both a vision of York and a vision of history, a place that is at once both ancient and modern, here and everywhere.” 

Drawing is the way that the deeply thoughtful Attree explains the world to himself wordlessly. “So I do it all the time,” he says, outlining how the foundation of his work is predicated on careful and endless observation.

He sees this need to draw as lying deep within our being. “We have been drawing – or something very like it – since the time of the cave paintings at Lascaux and Altamira,” says Jake, pointing to human art works that date back almost 40,000 years.

Triptych Of Trees, oil on board, by Jake Attree

“Drawing, like all truly creative activity, is not an entertainment or pastime, but rather something fundamental to our psychic health as a species.”

Hence Attree not only draws, but he does so daily, working out of a long, narrow studio at Dean Clough, Halifax. “I do believe that it is not until we have drawn something that we have truly looked at it. This is what artists realise, and it is amazing to think that drawing was once ‘out of fashion’ in art schools,” says Jake, who studied at York College of Art, Liverpool Art College from 18, and then the Royal Academy of Arts in London in his 20s.

He lives in Saltaire, in West Yorkshire, but returns regularly to his home city, where he makes initial sketches in the open air before transforming them into paintings thick with oil paints.

“York has always been emotionally very important to me,” he says, as his latest works will testify online from February 3.

The Hunters In The Snow after Brueghel, oil pastel, by Jake Attree