Katie Spragg at Blackwell


So this weekend the “Beast from the East” made a comeback. Although the east and south east were worst hit, snow, freezing temperatures and a strong wind in the North West meant that we cancelled a planned short break walking around Ullswater. So stuck in the house I had the opportunity to write up about an exhibition we saw the last time we were up in the Lakes at the end of January (when the weather was less awful!).

While we are Abbot Hall visiting the Land|Sea|Life exhibition, as usual we had a look at the other rooms in the Gallery. On display were a couple of works by Katie Spragg, a taster for her exhibition showing at the Lakeland Art’s Trust other main venue, Blackwell.

Katie Spragg creates ceramic works but they’re not the usual pots and vessels. They’re uncoloured, ghostly, reproductions of plants – grasses and flowers. She also produces animations using her ceramics and illustrations.

At Abbot hall there were two animated pieces. In the Meadow illustrated the effect of the elements and people on a grassy meadow

For the other piece, While Away, vsitors could sit in a deck chair to watch grass made of porcelain blow in the wind.

Intrigued we decided to drive over to Blackwell to take a look at the works on display in the Arts and Crafts House.

Blackwell’s website tells us

The exhibition of ceramics at Blackwell will showcase eight new responses to the Arts and Crafts house and the surrounding landscape, alongside six existing works previously displayed by the Craft Council COLLECT at the Saatchi Gallery, Miami Art Week and the British Ceramic Biennial Award show.

Spragg spent a week at Blackwell in November and was inspired to create new works based on her experience. She said, “In the mornings Blackwell feels very serene. The nooks and corners of the house lend themselves to daydreaming, particularly at this time of day. I became interested in how the landscape is framed through the windows of the house and also how nature is brought inside.”

Most of the works were displayed in one of the exhibition rooms upstairs, but three had been located downstairs – two in the White Drawing Room and a third high up on the window sill in the Great Hall.

As well as displaying her work in standard style Perspex boxes, she also uses Victorian glass domes, “peephole boxes” and other types of cabinets.

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Painting Pop at Abbot Hall


A couple of weeks ago, at the end of my week off work, we drove over to Kendal to visit the latest exhibition at Abbot Hall. which

celebrates British Pop Art from the early 1960s, including work by Sir Peter Blake, Pauline Boty, Patrick Caulfield, Richard Hamilton, David Hockney and Allen Jones borrowed from major collections such as Tate, National Portrait Gallery and Government Art Collection.

The 1960’s was when society began to change. Wartime austerity was behind us, National Service had ended and there was an explosion of creativity in music and the arts. The 50’s had been grey, the 1960’s were full of colour. Old ideas were being questioned and revolution was in the air. Mind you, I grew up in the 60’s in a small industrial town in Lancashire and I have to say most of this passed me by, but watching the news gave us glimpses of what was happening in that distant country called London and the rest of the world.

The Tate website tells us that Pop Art

began as a revolt against the dominant approaches to art and culture and traditional views on what art should be. Young artists felt that what they were taught at art school and what they saw in museums did not have anything to do with their lives or the things they saw around them every day. Instead they turned to sources such as Hollywood movies, advertising, product packaging, pop music and comic books for their imagery

Probably the most well known exponents of Pop Art are the Americans, Andy Warhol, Roy Lichtenstein and Jasper Johns, but this exhibition concentrates on British artists. It shows the contribution they made to the style.

The exhibition focuses on 1962, the year of Ken Russell’s documentary ‘Pop Goes the Easel’ featuring Peter Blake, Pauline Boty, Derek Boshier and Peter Phillips, which was broadcast as part of the BBC’s Monitor arts strand.

No photos allowed in the exhibition but these are some Press Images that show some of the paintings on display.



Probably one of the most famous Pop Art works is Andy Warhol’s series of prints of Marilyn Monroe. She also features in a painting by Pauline Boty Colour Her Gone which is used on the poster for the exhibition. It’s a more conventional portrait than Warhol’s image and the actress comes across more as a human being.


As part of the exhibition the gallery have recreated a 1960’s living room. Probably more representative a of a trendy middle class home than the one I grew up in, but it certainly brought back memories. The wallpaper, record player, television set, telephone and sideboard were all evocative of the period.


To complement Painting Pop, Abbot Hall is also showing Hockney’s complete print series A Rake’s Progress. It was inspired by a trip he made to New York and “the Rake” has more than a passing resemblance to the artist himself.


Julian Cooper at Abbot Hall

Julian Cooper Header

On Easter Saturday we drove up to Abbot Hall to take a look at their latest exhibition – a mini-retrospective of the work of a Cumbrian artist, Julian Cooper.

The paintings on display could be divided into four periods

His earliest works, shown on the landing at the top of the main staircase are quite abstract, although clearly based on vegetation and geological formations. The paintings from the second period, displayed in the first room, were figurative. A number of them based on Malcolm Lowry’s novel Under the Volcano and feature characters from the novel. But dominating the background are mountains, which later became the primary focus of his work.

The work then evolves again into a unique form of representation that is frequently near-abstract in its emphasis on the texture, shadow and irregular surfaces of rock and ice.  these mature period works

These mature period works were my favourites.

The second room was dominated by two large paintings of the Tibetan holy mountain, Mount Kailash which he visited in early spring 2006. One painting shows it’s north face, the other, the south.

A unique mountain, Kailash is worshipped by Hindus, Jain and Buddhists alike as the home of their Gods yet is so remote and difficult to get to that it is visited by only a handful of pilgrims each year. (Art Space Gallery Press Release)

The majority of the other paintings in this and the third rooms are close ups of rock faces, many of them from quarries in Italy, Tasmania and his native Cumbria.

Cooper rock face

They are very detailed and standing back they are very realistic – particularly the Cumbrian works. However, they also have an abstract quality particularly when viewed a little closer.

A number of his paint brushes and palettes give an insight into his method of work. He works on large canvases yet despite this many of his paintings are started “plein air” and supplemented by photographs and then finished back in his studio Working in a large scale he uses large paint brushes with long handles, sometimes extending them to make them even longer.

Julian Cooper

It must be something of a challenge to get his large canvases up into the relatively inaccessible locations in the mountains.  I found this interesting article by the artist, describing how he went about painting the holy Mount Kailish in Tibet.

George Shaw: My Back to Nature at Abbot Hall

Last Saturday we drove up to Kendal to visit the latest exhibition showing at Abbot Hall. It’s devoted to the work of George Shaw, a working class artist from Coventry who was a Turner Prize nominee in 2011 for The Sly and Unseen Day, a series of paintings of Tile Hill Estate in Coventry where he grew up. As with the present exhibition, these were painted using Humbrol enamel paints, which I used to use as a young teenager to paint Airfix and Tamiya model aircraft and military vehicles.


From a distance his paintings have a photographic quality – perhaps not surprising as he paints from photographs – but closer up it’s clear they’re not. Imperfections in the surface due to the use of his unusual medium become visible and the paint has an unusual sheen quite different from more traditional media. He doesn’t romanticise his subject, but shows it “as is”. However, they’re usually devoid of people so the scenes look deserted and a little intimidating.


We’d seen The Sly and Unseen Day at the Baltic in 2011 and were keen to visit the current exhibition, which  was originally shown at the National Gallery where he spent two years as Associate Artist (2014-2016) The paintings are inspired by woodland scenes from the National Gallery’s collection – three of which (by Piero del Pollaiuolo, Nicolas Poussin and John Constable) are on loan to Abbot Hall and showing in another room in the Gallery.

But these are urban woods, in and around the estate where George Shaw grew up. They’re not idealised Sylvain landscapes, but clearly well used by locals who leave behind the residue of their visits – litter, beer cans, discarded mattresses, pornographic magazines and damaged and vandalised trees. The scenes are very typical of woodland bordering urban areas. There are similar scenes in some parts of the Plantations at Wigan.




Taking the paintings by the Masters

Shaw is interested in how their stories – often featuring violence, illicit sex and drunkenness – have parallels in the way that people might behave in the woods today, when they think they are unobserved.

He considers his paintings to be modern equivalents, showing evidence of the same tyes of activities, or at least the modern equivalent. One major difference being the absence of people – except for one painting where the artist himself can be seen from the rear, clearly relieving himself against a tree.


George Shaw was brought up as a Catholic and that certainly comes across in a number of works in the exhibition.

This is complemented by Shaw’s interest in Christian imagery, especially how landscape artists of the past often alluded to the Crucifixion in their depiction of trees.

such as this one


one of a group of three paintings that can clearly be interpreted as a representation of the crucifixion.

There’s a series of 14 charcoal drawings – The Loneliness of the Middle‑Aged Life Model  – which are self portraits showing the artist in various poses – reaching, stretching, kneeling , and crucified. They are clearly  inspired by the fourteen stations of the cross.


There’s also a series of drawings of the head of Christ


It was also interesting to see the selection the three of the artist’s sketchbooks from his residency which give a further insight to his inspiration and technique.

GS sketchbook

There’s a video accompanying the exhibition where George Shaw talks about his  work, his development as an artist and his residency at the National Gallery. He comes across as a very engaging, pleasant, unpretentious and humorous individual. We spoke to a some of the Gallery staff who had talked to him when he visited the Gallery with his family and they all had nothing but good words for him.

People on Paper at Abbot Hall


To finish off our short break in the Lakes we drove over to Kendal to visit the latest exhibition at Abbot Hall. People on Paper , as the title implies, features drawings of people by British artists of the twentieth and twenty-first centuries from the Arts Council Collection with loans from the British Council Collection.

The show includes drawings by nearly 50 artists,  from the early twentieth century, including Gwen John (with the earliest drawing in the exhibition), Augustus John and Walter Sickert, right through to more modern artists such as Euan Uglow, Lucien Freud, David Hockney and Antony Gormley.

Arts Council Collection

Drawing of a Girl, Alice (1974) by Lucien Freud

Drawing people is inevitably figurative but there were some more abstract approaches, particularly this sketch by Mimei Thomson (Liquid Portrait 4, 2008)

Mimei Thompson, Liquid Portrait 4, Arts Council Collection, Southbank Centre, London © the artist

The works included simple sketches (some unfinished), more complex drawings, watercolours and even some incorporation of multi-media as in Kate Davis’ drawing Partners Study (Figure 1) from 2005 which incorporates a ceramic “telephone” made from small slabs of white clay.

DAVIS__Kate_ Partners study

Walking into the exhibition, the first drawing I saw, almost facing the door, was a rather creepy sketch by L S Lowry Woman With Long Hair (1964). The other drawings in the first room, from the early part of the 20th Century were a little more “normal”, including Gwen John’s simple sketch of the head of a young woman


Head of a Woman (c 1910)

and this drawing by Harold Gilman,

Harold Gilman. Arts Council Collection, Southbank Centre, London

Woman Combing Her Hair (1911)

although there was also an early work by Antony Gorman.

The second room brought us forward in time and included works by Henry Moore and Barbara Hepworth

Barbara Hepworth, Reconstruction, Arts Council Collection, Southbank Centre, London © Bowness, Hepworth Estate

Reconstruction (1947)

The third room included some later works, including this simple sketch by Euan Uglow

Girl close to Uglow

Girl Close To (1968)

Another enjoyable exhibition at one of our favourite Galleries. A good selection of artists with works encompassing a wide range of styles and approaches.

Winifred Nicholson in Cumberland

Cumbrian landscape painting by Winifred Nicholson, one of the leading British 20th Century modern artists

‘The earth of Cumberland is my earth … I have always lived in Cumberland – the call of the curlew is my call, the tremble of the harebell is my tremble in life, the blue mist of the lonely fells is my mystery, and the sliver gleam when the sun does come out is my pathway.’

Like many women, Winifred Nicholson is largely known for who she was married to rather than for her ability as an artist.  But she was a talented artist and her work deserves to be better known. The latest exhibition at Abbot Hall, curated by her Grandson, Jovan Nicholson, and concentrating on works created in her native county, will hopefully contribute to correcting this.

Born Winifred Roberts in the north of the old county of Cumberland (now part of Cumbria following local government re-organisation in the 1970’s), her Grandmother, Rosalind Howard, known as the ‘Radical Countess’, was involved in Liberal politics, Temperance reform and Women’s suffrage. Her father was a Liberal MP who served as a member of the Asquith government.

After studying art in London she married a fellow artist and after travelling to Italy returned to live in Cumberland, at Bankhead near Hadrian’s Wall. He was something of a philanderer and in the early 1930’s started a relationship with another artist who he later married and then deserted for yet another woman.

Winifred Nicholson

Winifred continued to live in Cumberland, at Bankshead and then at her parent’s home, Boothby, later returning to Bankshead. She also travelled in Europe, living in France for a number of years in the 1930’s and met Mondrian, Giacometti, Kandinski, Alexander Calder and other artists.

The exhibition, though, concentrates on her time in Cumberland and is divided broadly into three sections based on where she was living: Bankshead in the 1920s and 1930s, Boothby and the Lake District post war, and Bankshead again for the last two decades of her life. It includes a significant number of works and also included two vases which feature in some of the paintings on display.

While in Cumberland she developed the style for which she is best known – landscapes painted using a palette of bright, but subdued, pastel colours. She also began to paint a large number of pictures of flowers on window sills with a landscape in the background. There were a significant number of such pictures in the exhibition.

Winifred Nicholson, Daffodils and Pewter Jug, 1953

Winifred Nicholson, Daffodils and Pewter Jug (1953)

These aren’t botanical pictures with precise illustrations of the flowers but are painted in an impressionistic style

As well as views from her two homes, she also got out and about in the Lake District painting landscapes.

Winifred Nicholson, Ullswater, c1949s

Winifred Nicholson, Ullswater,(c1949)

She also spent some time at St Bees and a number of her works were sea views with the Isle of Man in the background.

Winifred Nicholson, Lily of the Valley, St. Bees, 1940

Winifred Nicholson, Lily of the Valley, St. Bees (1940)

Some of her landscapes included trees and animals. These were largely painted in a naive, childlike style, probably reflecting the influence of Alfred Wallis.

In the last few years of her life she began to make paintings inspired by the use of a prism.

‘I found out what flowers know, how to divide the colours as prisms do, … and in so doing giving the luminosity and brilliance of pure colour

There were some examples in the exhibition, including this one

Winifred Nicholson, Accord, 1978

Winifred Nicholson, Accord (1978)

The exhibition brings together a large number of works produced over a period of some 40 years from a number of sources, including many from private collections. Inevitably, there is some variability in quality, but overall it’s a good survey of her work with many attractive, colourful paintings. And I think the following statement on the Abbot Hall website is about right

Taken as a whole, the paintings in the show feel timeless, depicting Cumberland landscapes that have hardly changed. They are more than just views: they give an indescribable sense of a window opening onto a sunlit morning of endless opportunities.

Laura Ford: Seen and Unseen


Last weekend, on a whim, we decided to take a short break in Cumbria. We’d planned to visit the latest Lakeland Arts exhibition which straddled Abbot Hall in Kendal and Blackwell, down the road near Bowness, and as the weather outlook was pretty good a stop over in Grasmere followed by a walk on Sunday seemed like a good idea. So that’s what we did.

We set out earlyish on Saturday and drove up to Kendal. First stop was Abbot Hall to see the first half of the exhibition of works by Laura Ford, previously shown at Strawberry Hill House, Twickenham, (20 June – 6 November 2015), and also the National Gallery’s Rembrandt self-portrait which is “on tour” round the country with Abbot Hall one of the venues.

I have to admit of never having heard of Laura Ford before the exhibition was announced, although she is represented in the collections of Galleries including the Tate, and the Victoria and Albert Museum. The publicity photos I’d seen looked interesting but I wasn’t quite sure what to expect.

The works on display were mainly sculptures, but there were also a number of ceramic pieces, paintings and drawings. Most of her works are figurative – lifelike humans and animals, but with a twist. She works in bronze, other metals, fabrics, wool, Jesmonite and other materials, including clothing to dress some pieces. Her works include  humans dressed as animals (or ‘sculptures dressed as people who are dressed as animals’), humans with animal aspects and anthropomorphic creatures. Most with a very Surreal influence evident.

The exhibition blurb tells us that

Laura Ford is one of Britain’s most original sculptors and is well-known for her portrayals of animals through which she explores aspects of the human condition – although Ford describes her own work as sculptures dressed as people who are dressed as animals. Deploying a nightmarish imagination she uses humour and acute observation to engage with social and political issues. Her works are personal and particular but also draw inspiration from popular culture as well as painting and sculpture from throughout the history of art.

Nightmarish is a very apt description for many of the works we saw.

The artist is skilful in creating realistic poses so that many of the figures look as if they are about to move. In some cases we worried that if we looked back they would have followed us! That aspect made some of the works very creepy indeed.

At Abbot Hall, they were displayed in the main exhibition space upstairs but some were located in the Georgian furnished rooms on the ground floor. For example, this pair of Medieval Cloud Girls standing amongst the furniture in the drawing room on the ground floor


Upstairs we encountered this group of rather creepy penguins the size of children. There was something about them that made it seem as if there were real children inside the costumes.


Perhaps it was the worn plimsolls they were wearing and the way they were posed. I was almost convinced that they had moved when we came back into the room.

At Blackwell the works were distributed throughout the house and outside in the grounds.

These Armour Boys  appeared to be evidence of a battle that had taken place in the Great Hall


The poses were very convincing.


Old Nick relaxing by the fire in the dining room


There were a number of smaller ceramic pieces displayed in the White Drawing Room.


I don’t think I’d like to bump into these fellows. A rural version of the Ku Klux Klan? or Something out of the Wicker Man.


There seemed to be a surprise around every corner including this mouse boy


and an elephant boy partially concealed behind a wardrobe in the small dressing room


There were two giant rag dolls in the bedroom


creepy enough without the second face on the back of it’s head



The Lake District is closely associated with Beatrix Potter who lived over the other side of Windermere from Blackwell. There were three sculptures which almost could have come from her stories, except the characters were clearly down on their luck




Perhaps that’s what upset these two children



It was a marvellous exhibition that we thoroughly enjoyed. It’s always great to discover something good that you weren’t expecting and this was certainly the case on Saturday.

The Lakeland Arts website suggests that visitors really need to see both aspects of the exhibition by visiting both locations. I think that’s true and they do offer a reduction voucher for the second site when you ay admission at the first you visit. Mind you we are Friends of the Trust and so are able to visit as often as we like. And the excellent exhibitions they put on make the annual fee well worthwhile.