Exhibition Review – Rentrayage by Michelle Englefield

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Thursday evening saw the opening of Coventry artist Michelle Englefield’s solo show “Rentrayage” at Artspace Arcadia Gallery, following her year-long residency at Coventry Artspace. Michelle spent her studio time working towards this final exhibition, which comprised of a series of installations providing an autobiographical reflection of her own personal experiences of trauma.

In her artist statement, Michelle bravely shared her shocking story, of a string of harrowing events, which she has encountered throughout her life, which brought her to where she is today.

Michelle discovered refuge through creativity. Her art has allowed her to find a voice, which had been silenced for so long. She wants her work to give strength to others in the same way in which it has empowered her.

Rentrayage features a series of installations which filled the space in a manner which gave the viewer no option but to engage with each piece – each work becoming an obstacle in their path. The symbolism behind Michelle’s use of material and medium sensitively reflect the vulnerability of one who has experienced trauma, followed by steady growth and repair.

Layers of semi-transparent materials were overlapped – materials such as greaseproof paper, and dust sheets – typically used as forms of protection. Each object interlaced with twine, thread and wool; materials traditionally used to bind, repair and mend.

Each installation was suspended from the ceiling and featured strings of red wool flowing down each piece, a metaphor for veins supplying oxygen – vital for survival. Circular shapes were repeated throughout each installation, a symbol of family, marriage and the womb, whilst other areas had been torn and then stitched back together.

Each delicate installation gave a feel of fragility, so as a viewer you experience a sense of anxiety when passing through the space – fearful of causing damage to the work.

The ambient lighting in the room added atmosphere to the installations, as light created differing effects when shining through the overlapping opaque structures, casting both striking and delicate shadows around the room.

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Michelle has been incredibly strong to open up and share her story of trauma followed by personal growth and repair. This show reveals how Michelle’s artistic practice has ignited an admirable strength and resilience within her. This is incredibly moving to experience when viewing Rentrayage.

The exhibition will run until the 6th September 10am – 1:30pm (closed Sundays and Mondays). On Thursday 30th  5:30-7:30pm at Artspace Artcadia Gallery, she will be hosting a panel discussion surrounding the topics of art, therapy and value.

Goodbye CET – thank you for the memories

So the time has come for us to say our sad goodbye to the CET Building. With over 20,000 visitors in the past year, this pop-up cultural hub will leave a lasting legacy in the city. We’re gutted to see it go, but want to share some of our fondest memories of exhibitions we’ve visited there.

The inaugural Coventry Biennial of Contemporary Art – the biggest art festival the city has ever scene – the CET Building made the perfect venue for the Biennial’s central exhibition.

This was our first visit to the CET, since it re-opened it’s doors. It was wonderful exploring the building in it’s stripped-back state, each artwork responding to it’s setting and reacting to the exhibition theme of “The Future”.

Here’s our round-up of the inaugural Biennial last year.

Coventry-based artist, researcher and photographer Jonny Bark’s “Inhabiting Edgelands” became a dominant installation in the press hall, which was a result of the artists journey of exploration of these derelict, transitional areas of land in urban landscapes.

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The CET Building held the 2018 Coventry University Annual Drawing Prize, which is open to all students and staff both past and present, across all faculties and disciplines. Since the first competition in 2010 the Drawing Prize has received wider recognition and prestige over the years with entrants from locally based artists to ex-students as far as London.

 

This year’s show certainly did not disappoint and viewers got to vote on who you felt deserved to win. The 2018 winner was Michala Gyetvai with this oil pastel drawing titled “Threads”.

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The Exposure Photography Festival of work by 2nd year BA Photography students at Coventry University was another huge and impressive event. The festival encompassed six exhibitions exploring themes of space and place, community participation, observation of society, the use of colour, an exploration of senses and personal relationships. What a great showcase of the level of talent that is coming from the university.

We loved viewing the highlights of the 2017 Spon Spun festival, and reminiscing the work we explored when we visited the art trail last year. Some took on a whole new dimension in the setting of the building, particularly this beautiful instillation by Min-Kyung Kim “Rain of Memory”, lit up to create overlapping shadows against the back wall.

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The CET hosted the preview of the Urban Culture Street Art Festival, which took place across the city on 9th – 10th June. We were gutted to miss the event, but loved getting along to see all the impressive urban art, which then decorated the walls of the derelict basement room following the preview event.

Award winning artist Sam Belinfante was a visiting artist for “The Art of Coventry” Programme, ran by Coventry Artspace. His famous audio/visual installation “Accordian” was installed in the atmospheric press hall, which lent itself perfectly to this work of art. Echoing sounds came out of the darkness, while the two films of the accordion player rolled simultaneously in their two locations, viewable through either side of the screens.

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We especially loved viewing John Yeadon’s solo show “What’s the meaning of this?” a retrospective view of paintings he produced in the 1980s alongside his more recent work. We interviewed him prior to it’s opening.

We were intrigued at how his paintings deemed shocking and controversial in the 1980s would be received again in the city 34 years later. Yeadon encouraged the viewer to reflect on political, ideological, social and economic changes over the past three decades. People travelled from across the UK to visit this outstanding show of grotesque-realist paintings from earlier years in stark contrast to landscape paintings from his more recent Englandia series, displayed alongside images of nuclear power stations.

 

We have so many happy memories from the past year, and are sad to see it go, but the emergence of this pop-up space created such a buzz for the city’s visual arts scene. It has supported and nurtured Coventry’s grass roots talent and encouraged artists to explore and engage with spaces outside traditional gallery venues. May it’s legacy live on as the artists of Coventry continue to push boundaries in discovering unusual exhibition spaces.

Farewell CET and thank you for the memories!

 

Artist Spotlight: Michelle Englefield

Michelle Englefield finished her BA in Fine Art at Coventry University last year, and was granted a place on Coventry Artspace’s 2017/18 Graduate Residency Initiative. Each year recent graduates can apply for this great personal development opportunity, which includes a year of free studio space, use of their city centre gallery, financial support to visit another cultural event, plus lots of chance to gain knowledge and expertise from other industry professionals.

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What type of artist would you describe yourself as?

I’d describe myself as a sculpture and installation artist.

What mediums do you use?

Found objects made from natural materials.

 What themes do you explore in your work?

Most of my work is autobiographical.

Who and what do you draw inspiration from?

I mainly draw inspiration from personal experiences and artists like Louise Bourgeois and Tracey Emin.

What projects will you be working on during your residency with Artspace?

I am currently also doing a Masters in Contemporary Arts Practice. The residency has been a massive safe haven to spent time to work on my practise and the theme of the aftermath of trauma.

What have you hoped to accomplish during your residency?

Lots of networking opportunities and a personal growth in my practise along side a exhibition.

 What are your future plans as a Visual Artist?

Strengthen and continuing my practise through exhibiting and a achieving a job in the creative industry.

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 Where can people find out more about you?

You can find me on Facebook @MichelleEnglefieldArt

And on Instagram @xreddangelx

Applications are now open for Coventry Artspace’s 2018/19 Graduate in Residence, and this year are offering two places. Application closed on 24th June.

Find out how you can apply here:

http://coventry-artspace.co.uk/residency/

 

Behind-the-scenes action from the Coventry Arts Trail

Curating Coventry are delighted to welcome our first guest bloggers; Photographer John Whitmore (images) and Glass Maker Amanda Glanville (words) who are both opening their studios as part of the Coventry Arts Trail 16 June – 1 JulyThey’ve given us a wonderful account of what’s been happening behind-the-scenes on the run up to the event:

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If you’ve ever wondered what an artist’s studio or workspace looks like, whether a painter works in an ordered calm, or a textile maker in a colourful chaos now is your chance to find out.

From 16 June – 1 July, the artists from Coventry Arts Trail invite you in to meet them in their homes and workspaces to see how and where they make art. This is part of Warwickshire Open Studios, the county’s biggest free annual visual arts event.

JohnWhitmore_05John Whitmore, a photographer using traditional film techniques, and based in Binley Woods has documented some of the artists you’ll meet as part of the trail (including himself!) to give you a taste of the very different ways they work and their working environments.

From contemporary workspaces to quirky sheds, a homely room in a traditional Victorian villa to a bright corner in an Edwardian terrace attic, The Coventry Arts Trail artists have one thing in common with all artists – they like to surround themselves with intriguing tools and equipment.

 

TheoWright_02You’ll see lots of these when you visit the Arts Trail, along with art big and small (most of it for sale), work in progress, sketchbooks, and some of the artists will be giving demonstrations too – don’t miss the working loom in Earlsdon and the lamp work glass demonstrations in Chapelfields. At all the addresses there is the warm welcome you would expect with Open Studios – often with cake and tea too.

It’s a friendly and approachable way of seeing art and a must for anyone who has been put off visiting a art gallery in the past.

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Full details of all the Coventry Arts Trail artists are on the Warwickshire Open Studios website where you can search who is open when by area and times they are open. Coventry Arts Trail has its own Facebook page where you can find out more. Please note, not all artists are open all of the time.

Or you can use the Warwickshire Open Studios Brochure or Coventry Arts Trail leaflet which are widely available.

Come and see what we’ve all been working on!

Andy Farr

A painter exhibiting from his city centre studio an affecting and thoughtful body of work which interprets true stories of post traumatic stress
https://www.warwickshireopenstudios.org/summer/2018/andy-farr

Emma O’Brien

Textile Artist and illustrator. Well known as the creator of ‘Naughty Monsters’ and co-author of children’s picture books. Emma’s delicious vegan cakes will be on offer during Open Studios.
https://www.warwickshireopenstudios.org/summer/2018/emma-obrien

Amanda Glanville

Maker of tiny glass stuff. Quirky, colourful and fun miniature objects for house and garden. Ongoing demonstrations in The Red Shed.
https://www.warwickshireopenstudios.org/summer/2018/amanda-glanville

Adam Tucker

Intricate detail of England’s natural landscapes captured in paint
https://www.warwickshireopenstudios.org/summer/2018/adam-tucker

Katie O

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Pencil and watercolour artist capturing in great detail the essence of wildlife. Showing as part of a group exhibition with four other artists at University Hospital Walsgrave. Please note this is an unmanned exhibition.
https://www.warwickshireopenstudios.org/summer/2018/katie-o

Sarah Howarth

New to Coventry Arts Trail, a mixed media artist who specialises in decorative mirrors.
https://www.warwickshireopenstudios.org/summer/2018/sarah-howarth

Theo Wright

Fine detail of intricately loom woven textiles. Demonstrations on full sized loom.
https://www.warwickshireopenstudios.org/summer/2018/theo-wright

Aleks Dille/Katharine Hopley

Designer / Makers of fine jewellery in all precious metals with a particular specialism in gemstones.
https://www.warwickshireopenstudios.org/summer/2018/aleks-dille 

Adam Hussain

Distinctive contemporary kiln fused glass as large installation pieces and smaller domestic bowls and plates. Adam offers workshops in beginners fused glass techniques.
https://www.warwickshireopenstudios.org/summer/2018/adam-hussain

John Whitmore 

Landscape, townscape and portrait photography using traditional camera techniques (non digital) and hand printing. Weds during Open Studios – pre bookable in depth demonstrations at his Binley Woods studio.
https://www.warwickshireopenstudios.org/summer/2018/john-whitmore

There are more artists to discover on the Coventry Arts Trail – not all of them were available for photographs. Discover the full list of places to visit here.

 

You can follow this blog post authors on the following:
John Whitmore
Facebook: @thedarkshed
Twitter: @thedarkshed
Instagram: @thedarkshed
https://johnwhitmore.gallery

Amanda Glanville
Facebook: @TheEarringCafe
Instagram: @theearringcafe
www.earringcafe.co.uk

A Beginners Guide to the Art of Resistance

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Local artist collaboration Darryl Georgiou and Rebekah Tolley-Georgiou have took us back to 1968 in a fascinating radio/film mash-up released on Mixcloud.

1968 was a significant year in history. A time of upheaval, struggle, changes and confusion. The artists have gathered archived material from news, radio, music, speeches and adverts, and re-contextualised it to mirror contemporary culture. This show reflects on how that period of time can relate to the here and now.

Inspired by the use of arts and education as tools to resist political repression, this radio/film mixtape forms a “Beginners Guide to the Art of Resistance”. This captivating programme draws from activism of the past to art of the present.

Check it out here:

https://www.mixcloud.com/BrumRadio/resistance-68-a-radio-film-for-the-minds-eye-by-darryl-georgiou-rebekah-tolley-georgiou/

Follow “The Van Trip” Live Art Journey – From East to West with Love

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Thursday the 7th June, we will witness an open top truck loaded with a tonne of bread and salt, depart from Whitley Depot, Coventry on a 1072 mile journey to Łódź, Poland, as part of a live art, transient performance by Coventry-based contemporary artists Rob Hamp and Emilia Moniszko.

The Van Trip is Phase 2 of From East to West With Love – a project which aims to establish unity, dialogue and connections between Eastern and Western Europeans.

You can follow this outreaching trip live via their social media channels, where Coventry-based film-maker Ivan Petkov will provide real-time documentation of the journey.

To put the concept of the Van Trip in better context, here’s an insight into the history of From East to West with Love:

Phase One – The Visitor was a programme of events, an exhibition, public discussions and an artist residency, that took place in September-November 2016 in Coventry, and Łódź, Poland.  The events encouraged arts professionals, academics and the local cultural community to connect and engage with each other whilst identifying and questioning cultural changes. One of Poland’s most radical artists Pawel Hajncel was their artist in residence. He created a performance titled “‘Patriotism for Sale’ in which he addressed the attitudes of migrants who fled their home countries in pursuit of sustainable future.

The objectives of From East to West with Love are to:

  • Place Coventry as a centre for experimental contemporary arts in Britain, free from discrimination resulting from today’s political climate
  • Establish communications between European artists, cultural agents and the general public in order to contribute to a positive image of Europe
  • Attract a diverse range of audiences from different backgrounds in order to release the segregation of the migrant community
  • Create personal development opportunities in curation, communication and event coordination positions
  • Document all elements of the project, to provide material to contribute towards Coventry’s future vision
  • Establish strong relationships between cultural agents and arts facilitators in Coventry and Łódź, in order to create culturally twinned cities.

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SO back to Phase 2 – The Van Trip

Why transport a tonne of bread and salt?

In Poland bread and salt are a symbol of hospitality – a way of welcoming people. Bread symbolises the wish that the recipient will live in abundance, while salt is a reminder of the difficulties that we learn to overcome in life.

Łódź is geographically situated in the centre of Poland, as Coventry is to England. Like Coventry, it is a city with a long-standing industrial history – a connection that is significant to the project, and perfect grounds for twinning the two cities.

Check out this video by the artists to give you more of an insight:

https://www.youtube.com/watch?v=cgCqYFEgE2g

Who knows what experiences, interactions and events they will encounter as we follow this outbound journey, crossing borders, boundaries and undoing the framework of state lines.

Stay tuned to their Social Media Channels to find out, and experience The Van Trip with them:

Facebook: @fetwwl

Twitter: @fetwwl

Instagram: @fromeasttowestwithlove

And follow the hashtag #FETWWL

Join their live departure from Coventry on Thursday 7th June via their Facebook page here: https://www.facebook.com/events/382034575626228/

Watch the arrival approximately two days later at the Punkt Odbioru Sztuki, a Łódź based art gallery where it will then be unloaded:

https://www.facebook.com/events/1637173016403029/

Find out more on the website http://fetwwl.com/

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Become our “Artist of the week”

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At the beginning of May we ran an Instagram Takeover with Coventry 2021 City of Culture Trust. There was an overwhelming response with over 620 images submitted to be featured, showcasing the work of so many talented artists from the city.

Way too many to feature during a one-week Takeover, so Curating Coventry have decided that each week we will continue to feature an artist a week on our Instagram page, until 2021!

Continue to add the hashtag #CuratingCoventry2021 to your work on Instagram for you chance to be our “Artist of the Week”.

In the meantime, we’d encourage artists to explore each other’s work using the hashtag on Instagram and celebrate our city’s creative talent.

Artist Spotlight: John Yeadon

John Y in Studio 2018

Image by Marta Kochanek Photography

Renowned Coventry-based artist John Yeadon will be opening his latest solo show at the CET Building on 18th May. This will feature a retrospective view of paintings produced in the 1980s, which were deemed shocking and controversial at the time, alongside a collection of his more recent work.

We’ve interviewed John to find out more about what we can expect from this forthcoming show:

For those unfamiliar with your work, sum up how you would describe yourself as an artist.

I don’t bother or need to describe myself as an artist, I think that’s for others to do, but I’m happy to talk about the work, which is eclectic. I do, and have done different things at different times in my life and I have reinvented myself a number of times. Essentially I am a painter/printmaker but have explored a number of different territories, as a student at Hornsey and the RCA I was interested in archetypes significantly the Mandala, then in the 70s I was involved in making large silk screen anti-fascist banners, what I regarded as street art, portable paintings, later, photography and I spent a decade working digitally before I retired after 30 years teaching Fine Art at Coventry University (Lanchester Poly, as was) and returned to painting.

I have never had any commercial success, never involved myself in the gallery system or art market. I think the market and the ‘silly money’ has harmed art dramatically. When I left the Royal College of Art the art market hardly existed, there was Bond Street and Cork Street and that was about it, there weren’t any collectors of contemporary art in Britain. Unlike the YBAs (Thatcher’s children) I come from a generation who were critical of the capitalist gallery system. Since the 70s this market has grown immeasurably. But today’s vast art market is not anymore democratic than the elitist small art market of the 60s and 70s, and like pluralism, the market aspires to mediocrity. I have taught all my life, I used to regard teaching in Higher Education as state patronage of the artist, I don’t think like this now, it is not the case today. Teaching has given me the freedom to do whatever I wished to do no matter how unpopular the work might be and not having to pander to a gallery as to what sells. Artists can end on a treadmill, repeating themselves and if successful, they become play things of the rich. Why would you wish to sell a painting to someone who would not even invite you to dinner! I prefer my freedom. Freedom to please yourself is also one of the advantages of being ignored. Even though I have not been involved in the commercial art world I have had over 30 one person exhibitions throughout Britain and abroad, mostly curated and organised by myself. It’s important to get the work ‘out there’.

Others have described my work as: pornographic, transgressive, humorous, political, oppositional, resistance, disquieting, difficult, obsessive, unfashionable and mostly going against the grain. It’s not artists who make up definitions and descriptions of themselves or their work, but critics, journalists and curators. All definitions are limiting. It’s also like asking an Impressionist to explain Impressionism, well, the artist never invented the term or the category!

“What do you mean by Impressionism?” Might be the artists reply.

The 1980s work was categorised as Grotesque Realism or Theatrical Realism.

Obviously there are some descriptions I like and others I don’t. Grotesque Realism was good for me as I developed a great interest in Rabelais, Bakhtin, the Medieval Carnival and the satire of Jonathan Swift. I like the over the top, the larger than life, of the grotesque, where ‘more is more’. For me, Carnival is the history of the ‘popular culture’, a peoples culture. An extra political aspect of the world of human relations which Bakhtin described as a ‘second world…a second life outside officialdom’.

I like to exploit contradictions, paradox and ambivalence and challenge preconceptions. I once said that “paradox was the dialectic of life”, in a slightly more profound moment. My paintings are also somewhere in between autobiography and fiction, but that’s probably true about most art.

At Coventry University I ran an Art History/Liberal Studies Course on Art and Sexuality, (I was going to call it Querys, but was never sure how to spell that, maybe ‘Queeries’). Erotic art was something I was personally interested in, I hoped it wasn’t too limited a topic and that there was enough substance there to make a seminar series. A novel subject but not mainstream nor everybody’s cup of tea. At the time I was using sexual references in my work as a metaphor, as part of an allegory.

During my preparation I realised that in every age whether that be Egyptian, Greek, Roman, Medieval, Renaissance, seventeenth century to the twentieth century, or from the art and creation myths of Egypt and Greece, and from the role of women in art, or sexual identity, whether it be from Leonardo to Picasso, Michelangelo to Duchamp, Artemisia Gentilischi to Jo Spence, Fragonard to Hockney, from Caravaggio to Francis Bacon, sexuality is the central theme. I realised that sexuality was fundamental to the history of art as it is to the narrative of our lives. Any art history that ignores sexuality is an incomplete art history and they do ignore it.

Identity is a important theme of art, but ‘branding’ seems important for artists these days. A simple ‘bite size’ description, a signature work. Make it simple. It’s all about the market. Why would you wish to pin yourself down. Actors would run a mile rather than being typecast. Keep them guessing, that’s what I say. There are many different Picassos. Why limit yourself. Like Rabelais, I am interested in lists and in the 2000s I produced a ‘Miscellany of words and phrases associated with food and eating’. Tellingly, ‘branding’ was next to dehorning and castration!

(See johnyeadon.com ART, Full English: Text).

Tell us what featured in your risqué “Dirty Tricks” exhibition at The Herbert in 1984, that we’ll get to see again in “What’s the Meaning of This?”

I don’t regard my work as risqué in any moral sense, I think the painting are highly moral. Essentially I am asking questions. Though I suppose one always risks something when painting. Shouldn’t all artists be taking risks, isn’t that what it’s all about, it’s the viewer who might see the work as risqué in a moral or ethical sense. This is not the artist’s job, self censorship has to be avoided. Some of my work took a kind of courage, non of it comes easy, one might even say it took bravery, even if only overcoming self doubt, but once painted it’s the gallery that has to show courage and the viewer to be up to being challenged. However I do accept that some of the work is provocative and transgressive but its important to expose contradictions and challenge taboos.

Artists need to be extremists, it’s no good upholding the status quo, that’s not a creative strategy. You’ll never do anything new doing that! 

There are a number of works from the Dirty Tricks exhibition in this show, probably many of the paintings that the Coventry Evening Telegraph regarded as ‘smut’ or pornographic. But I cannot speak for what others find offensive. I think racism is offensive, homophobia, nuclear weapons, war, famine, violence, unemployment these are the real obscenities and not images of peoples bodies. My recent work is on the nuclear industry and 50s technology, maybe some will find this offensive, they probably should, but they won’t. Their moral focus and outrage is on bodies and bits of bodies. Kinda makes you to want to offend them!

It’s there in the title for this show. ‘What’s the Meaning of This?’ As I anticipate angry disapproval at what I have done.

How dare I

Control Rooms, Sellafield 2018

What impact did your “Dirty Tricks” exhibition have on your career as an artist?

What impact? Very little. Maybe that’s a bit disingenuous, but nothing noticeable, it did not directly lead anywhere. Most exhibitions don’t, most exhibitions are cul de sacs. Though Dirty Trick was shown at the Pentonville Gallery in London later in the year but that was not a result of the Herbert exhibition, as I had organised this earlier. Sandy Moffat of Glasgow School of Art did say that it was the Dirty Tricks exhibition and the Transmission Gallery in Glasgow which formed my reputation. However my inclusion in the British Art Show of 1985 was not a result of the Herbert show, but at that time the British Art Show was a genuine attempt to represent what was going on in the country and the curators visited studios throughout Britain. In Coventry John Thompson visited the Canal Basin Warehouse where I had a studio.

Having said that, it was a real privilege to show at the Herbert Art Gallery, I had two galleries (one of them now has been turned into storage), you could never get such a space in London unless you were a high profile international artist. I think provincial galleries have an important role in supporting emerging and mid career artists. Sadly the Herbert seems unwilling to curate exhibitions for Coventry or Midland based artists these days, preferring to buy in national touring shows from London museums which I think is curatorially lazy.

How do your recent paintings compare to the ones that you created over 30 years ago?

The 1980s paintings are bigger. Don’t know much more at the moment. The exercise of the exhibition is to compare the works, so I don’t want to predict. I want to look when the show is up. I’d like to be surprised. But who knows.

By comparing disparate work one might find a common denominator, I suppose I would like to find that. A unifying theme, or some underlying idea, that would tell me what to do next, but if I did discover such a thing, a little too late me thinks.

Thinking about this question and looking back at the work there seems to be an interest in ‘monsters’, often as a reference to nuclear weapons as in The Monster from the Nevada Desert, or my transcriptions of Goya’s Sleep of Reason Produces Monsters to my recent paintings of the WITCH computer and Sellafields Nuclear Power Station. Monsters refer back to Grotesque Realism, so maybe I’m still a Grotesque Realist. And that thought is unexpected.

I am curious to see the response of the audience to these 80s paintings in this new context 30 years on. To see how they have survived and what they mean today, how the meanings have transformed. In the 1980s in the face of AIDS paranoia and ‘gay blame’ I painted some homosexual propaganda paintings though not specifically referencing AIDS. Too many other artist were doing work on AIDS. Things were changing in the art world, figurative painting was in the ascendancy and abstract minimalism was out, conceptual formalists and video artists were looking for content and AIDS provided them with a ready made socio-political cause. I did not wish to join the bandwagon. Attitudes to homosexuality have changed, who would have thought that a Tory Government would introduce ‘same sex marriage’. How we see ourselves has changed and how others regard same sex relationships has also by and large transformed. The gay community has changed, the LGBTQ community is more inclusive. But institutional homophobia in the 80s was visceral, ‘gay plague’ paranoia was tangible. For instance, I applied to take out a mortgage with the Woolwich in the late 80s and had to have an AIDS test as I answered ‘yes’ to a question on homosexuality on a questionnaire produced by the company. I got my mortgage after waiting three weeks for the test results, the doctor did not inform me I was HIV negative, they told the Woolwich. I presumed I was okay when they approved the mortgage. Even so, the Woolwich insisted I take out insurance on my house in case I drop down dead owing them money.

Much is different today but we are still a divided and polarised nation as we were in the 1980s. It will be interesting to see how the paintings on sexuality are received in a less hostile and homophobic climate.

What is the reasoning behind placing the more recent works against the paintings you created in the 1980s?

That’s what happens when you do a retrospective. Work gets place next to each other from different periods.

I thought 70 was a good excuse to do a retrospective, though I could not do a full retrospective; too much work, too diverse and not enough space unless they gave me the run of a museum large space and that’s never going to happen.

So I had to be selective on what I show. As I am back painting, to show early paintings made sense. This exhibition is the second of three retrospective shows I am having in these twelve months. I showed my 1982 painting of the Harwell Dekatron WITCH computer the ‘Portrait of a Dead WITCH’ alongside my 2017 second version of the computer – ‘It’s Alive’. Bringing these two paintings together at the National Museum of Computing at Bletchley Park, the home of the original WITCH. Consequently the exhibition was called The Three Witches and has run for over three months at the museum. I am also having an exhibition at the Lanchester Research Gallery in February 2019. Bringing together the Travails of Blind Biff Jelly series and my paintings of my grandmother’s and mother’s ventriloquist dummies. In fact Biff’s first outing was the exhibition ‘Unbelievable Stories’ at the University’s Lanchester Gallery in 1988.

Some of the 80s work was badly damaged in my custom built shed which I use for storage when the roof leaked over ten years ago. A lot of work went into a skip. This exhibition has forced me to dig out and repair six paintings that were damaged yet saved from the skip! So I feel it’s well worth showing them again.

The British Scene 1982

How do you expect the work that you created in the 80s will be received again in the same city 34 years later?

Who knows how it will be received, as I have said it will be interesting to see the reactions in this new context 30 years on. People do not do large figurative paintings these days so it will be interesting for me to see the response of younger artists to these works. 

For me the viewer is not a passive consumer of the art. Looking is an intentional act and requires imagination. Looking requires thinking. As Duchamp pointed out, the viewer finishes off the work.

They provide the meaning. The viewer brings their imagination, understanding and personal experience to the work. They also can bring baggage, ignorance and prejudice to the work.

As Grayson Perry said, “you cannot like everything”, but it was a noisy reactionary minority who reacted badly to the work in 1984. It will be interesting to see if the Coventry Telegraph review the show or even do another editorial. I sent them a press release. But they probably won’t unless they think there’s a scandal.

We shall see.

What’s next for you as an artist?

I the short term I’m showing some of my digital work at the Coventry Pride Art Show also at the CET Building on June 1st. I very please about this and a great way to support Pride. I have the Lanchester Research Gallery exhibition in February 2019 and also in February a Coventry Dresden Arts Exchange exhibition at the Kreuzkirche (Church of the Holy Cross) in Dresden to commemorate the bombing of Dresden and the 60th anniversary of the twinning of the two cities. I hope to bring this exhibition to Coventry Cathedral, later in 2019. I need to do some grant applications for the Coventry Dresden Arts Exchange as I would like to continue the artists residencies in the cities and give more Coventry based artists the opportunity to visit and work in Dresden. It’s also great to welcome Dresden artist to Coventry. 

I have my third painting of the WITCH computer in my studio to finish which will keep me occupied for some time. I’ll get a new shed. (Horse and bolted springs to mind). I think I should travel more and need more time to play my ’cello in local orchestras. The Burnley Orchestra is 100 years old this year and I will be going back to my home town in Lancashire to play with them later in the year, I have not played with them for over 50 years.

As for the long term, at 70 there really isn’t any. Bucket list?

Just paint and continue to annoy people.

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What’s the Meaning of This? – John Yeadon at 70

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Renowned Coventry-based artist John Yeadon will be opening his solo show at the CET Building on 18th May, and it will feature a selective retrospective view of paintings produced in the 1980s alongside his more recent work.

John Yeadon looks back to his 1984 Dirty Tricks exhibition at the Herbert Art Gallery and Museum in Coventry and compares this work with his recent paintings.

Thirty-four years ago this controversial exhibition of Yeadon’s grotesque realist, large allegorical ‘history paintings’ was received with alarm and pleasure. At the high point of AIDS paranoia and gay ‘blame’, Yeadon’s forthright, radical, critical, ‘in your face’ paintings challenged preconceptions on sexuality and society.

The Coventry Evening Telegraph declared that it was ‘Smut Not Art’, however the exhibition increased the attendance at the Herbert by 40%. Works from this exhibition were later that year exhibited at the Pentonville Gallery in London and the British Art Show of 1985. The Arts Council of Britain also bought a version of ‘The Last Chilean Supper’ one of the ‘lavatory wall smut’ paintings so derided in the Coventry Evening Telegraph and John Yeadon was featured by Emmanuel Cooper in his book the Sexual Perspective/Homosexuality and Art in the Last 100 Years in the West, published in 1986.

This exhibition not only compares Yeadon’s paintings of the 1980s with his recent work but asks the viewer to reflect on the political, ideological, social and economic changes. These past struggles and contradictions of the 80s that generated Yeadon’s work might also be relevant today.

Have things changed – is society more tolerant, more open minded, more liberal today? As Coventry approaches the City of Culture, is the city more enlightened, less provincial?

Now at the age of 70, this is the second of three ‘retrospective’ exhibitions John Yeadon is having during the next 12 months.

Three Witches, Feb – April, The National Museum of Computing, Bletchley Park.

What’s the Meaning of This, Yeadon at 70. May – June. Newsroom Gallery, CET Building, Coventry.

70 X 70, Incorporating, Unbelievable Stories and Fearful Symmetry. February 2019, Lanchester Research Gallery, Coventry University.

Our recent visit to the CET Building

In case for any reason, you haven’t yet visited it, we’d recommend checking out the CET Building. Not only is the old Coventry Telegraph building fascinating to explore on the self-guided tour, but it has also become somewhat of a cultural hub for the city, with a constant stream of art exhibitions, concerts, performances and gigs. We’ll be sad to see it go.

We spent a couple of hours on Saturday exploring the latest art exhibitions on display, so here’s an update on what’s currently on:

Theo Wright’s “Permutations” exhibition was the first we visited, and it explores the effect of mathematics on the patterns and colour sequences created in this contemporary weaved textile pieces. It was really interesting to learn about the knock-on effect that the tiniest change in sequence has in the whole pattern created, and he shared the mathematical formula and processes he followed to create each piece of work.

(Open until Sat 21st April).

 

Saturday also saw the opening of #Paintmysong exhibition by Florence Cliffe. A collection of vibrant abstract paintings influenced by music. Painting has become a therapeutic tool for Florence as she explores the subconscious mind through paint. (Check out what’s happening with the hashtag on Twitter).

The “Exposure” photography festival is still open, and is a wonderful showcase of talent from Coventry University photography students. It combines six exhibitions exploring themes of space and place, community participation, observation of society, the use of colour, an exploration of senses and personal relationships.

We got a sneak preview of the Spon Spun exhibition being installed (opening W.C 16th April) and displays a collection of highlights from last year’s Spon Spun Festival including the award winners and commissioned pieces. We really loved this installation by Min-Kyung Kim “Rain of Memory”, the winner of the visitors choice awards. We remembered it from the art trail at last year’s festival, but this installation took on a completely new appearance in this setting. The dramatic lighting in this dark area of the building really emphasised the shadows, adding a totally new dimension to this work.

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We then came across a collection of work by Coventry painter Christopher Sidwell “All Creatures Great and Small”. This exhibition depicts the artist’s sense of humour and is a celebration of life in it’s many forms. A series of acrylic paintings are accompanied by a screen projection and sound installation of his favourite classical piece, intending to portray different animals in musical form.

Coventry Artist Len Cattell has a collection of Aboriginal-style painting and crafts on display on the second floor. Whilst living in Australia he explored the painting techniques of the Aborigines, which inspired his own practice.

Jonny Bark’s immersive installation “Inhibiting Edgelands” fills the old Press Hall, and is the result of the artist’s journey of exploration of these derelict, transitional areas of land in urban landscapes.

 

This sums up a selection of the exhibitions we visited, but there are some more exciting events coming up:

This coming Saturday (21st April) will see a preview for the forthcoming Coventry Street Art Festival, and will feature live graffiti artists and plus live DJs (12-4pm).

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On the 28th April (12-4pm) – Synthcurious 2 – the sequel to the impressive live sound installation that took place earlier this year.

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Then on 17th May, renowned Coventry-based artist John Yeadon will be opening his solo show “What is the meaning of this” – a collection of his paintings created in the 1980s along with some recent pieces.

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