Art adventure: Illustrators Louisa Foley & Thom Milson Exhibition at Munrow House, Leeds

On Monday (14th March 2016) we went to visit the Louisa Foley & Thom Milson Exhibition at Munrow House, Leeds. Here are a few photos from our trip….

 

About the exhibition:

“An exhibition of work by two talented Illustrators, who we think are super.

Louisa Foley

Louisa Foley graduated from Leeds college of Art studying printed textiles and surface pattern.

Louisa says:

My practice is heavily illustration based combining a number of different techniques including: Hand drawn illustrations, collage, Digital printing, Hand embellishments and embroidery. I love colour, surrealism, and typography these all play a large role in my work which is inspired by a mash up of 60’s graphics, pop art, punk, kitsch and feminism. This eclectic mix leads me to some strange places but definitely reflect my playful sense of humour. I like to make work that catches peoples eye and makes them laugh, i believe life is too short to be serious and beige and my work is a visual way of saying this, rather than being polite and asking to be seen it screams in your face ‘HELLO I HAVE ARRIVED’“.

For more information:
Louisa’s Website / Louisa’s Instagram

Thom Milson

Thom Milson is an illustrator based in Leeds. As a graduate of Leeds Beckett University, with a degree in Fine Art, Thom has gone on to work with a wide range of clients in a range of mediums – as well as pursuing regular personal passion projects, such as those seen in this exhibit. Working regularly in inks, printmaking, digital illustration and paper cuts, his work explores the relationship between handmade and digital process, creating a word that feels alien yet familiar.

For more information:
Thom’s Website / Thom’s Instagram” taken from leedsgallery.com

A bit about the Gallery at Munrow House:

“The Gallery at Munro House is an independent commercial art gallery, event space, and café in Leeds. Our aim is to support local arts and culture while also bringing artists and their work to the city from further afield.

From our city centre location we exhibit and represent artists specialising in all types of art, including photography, illustration, painting, print, sculpture, animation, film, and graphic design.

Since opening in September 2011 we have exhibited an eclectic mix of styles and media from both established and emerging talents; exhibitions range from photography to illustration, painting, printmaking and sculpture. The space also hosts a wide-ranging programme of events and is available to hire for functions and private exhibitions.

Situated inside Munro House in the East of Leeds, Gallery Munro House is not to be confused with Leeds City Art Gallery. We are situated at the corner of York Street and Duke Street in LS9 – view a map of the gallery location – just moments from the City Centre, around the corner from BBC Yorkshire and opposite the City Bus Station.” leedsgallery.com

To find out more about Munrow House visit their website munro-house.co.uk

 

The exhibition is only on until the 31st March (2016) so if you want to go see it for yourself you’ve only got a few days left.

Admission is free

Open times: 8am-6pm Mon-Fri

10am-6pm Saturday

Closed Sunday

 

Till next time

Take care

Purple Faye x

purplefaye.co.uk

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1st 3D Acrylic Painting Workshop at Purple Faye’s Pontefract Studio

Last Saturday (12th March 2016) I did the first workshop in my new Pontefract studio. Laura had done a workshop with me before when I had the shop space in Castleford, so it was nice to see her again.

Here’s what she made…..

 

If you’d like to make your own 3D Acrylic Painting with me in my Pontefract studio you can book in by emailing: info@purplefaye.co.uk

Studio Address:
1st Floor
Pearl Assurance House
1-3 Horsefair
Pontefract
West Yorkshire
WF8 1PE

 

A bit more about the workshops:

Workshops: Make Your Own 3D Acrylic Painting with Purple Faye

Transform ordinary cardboard and modroc into your very own beautiful 3D Acrylic Painting to treasure forever.

The workshops will focus on using artist Purple Faye’s techniques with cardboard, modroc and acrylic paint to make 3D Acrylic Paintings at her studio in Pontefract.
 
Participants will be guided through the process by artist Purple Faye and given hands on help to produce their own 3D Acrylic Painting.
 
Starting with drawing, then manipulating the cardboard and modroc, finishing by painting with acrylic paints.
 
All materials and tools needed will be provided.
 
Time to allow the modroc to dry will be required so participants can choose to complete their 3D Acrylic Painting over one full day (with a refreshment break to allow for the modroc to dry) or over two half days.
 
(Choose between Thursday, Friday or Saturday)
 
By the end of the workshops participants will have created their own 3D Acrylic Painting to take home and keep or give as a gift.
 
How to Book
 
Book by emailing: info@purplefaye.co.uk

 

Prices

(All materials and tools needed included)

*Please note that children must be accompanied by adult supervision*

£35 per adult (making one 3D Acrylic Painting each)

£40 per adult + 1 child (making one 3D Acrylic Painting together)

 

These workshops are suitable for all levels, from beginners to more experienced artists/crafters. Please wear old clothes that you don’t mind getting messy. Bring pictures of anything that you’d like to make your 3D Acrylic Painting of.

 

Studio Address:
1st Floor
Pearl Assurance House
1-3 Horsefair
Pontefract
West Yorkshire
WF8 1PE

 

How to Book

Book by emailing info@purplefaye.co.uk

 

If you can’t make it to a workshop then kits are available to buy too

 

I look forward to hearing from you.

Till next time

Take care

Purple Faye x
purplefaye.co.uk

Making of the “Mallard No. 4468” 3D Acrylic Painting

Here’s how I made the “Mallard No. 4468” 3D Acrylic Painting.

See the video on youtube here (https://youtu.be/DT0qga25ork)

A bit about the Mallard No. 4468 :

A London and North Eastern Railway Class A4 4-6-2 Pacific steam locomotive built at Doncaster, England in 1938. It is historically significant as the holder of the world speed record for steam locomotives.

The A4 class was designed by Sir Nigel Gresley to power high-speed streamlined trains. The wind-tunnel-tested, aerodynamic body and high power allowed the class to reach speeds of over 100 miles per hour (160 km/h), although in everyday service it rarely attained this speed. No regular steam-hauled rail service in the UK reached even 90 mph, much less 100. Mallard covered almost one and a half million miles (2.4 million km) before it was retired in 1963.

It was restored to working order in the 1980s, but has not operated since, apart from hauling some specials between York and Scarborough in July 1986 and a couple of runs between York and Harrogate/Leeds around Easter 1987. Mallard is now part of the National Collection at the United Kingdom’s National Railway Museum in York. On the weekend of 5 July 2008, Mallard was taken outside for the first time in years and displayed beside the three other A4s that are resident in the UK, thus reuniting them for the first time since preservation. It departed the museum for Locomotion, the NRM’s outbase at Shildon on 23 June 2010, where it was a static exhibit, until it was hauled back to York on 19 July 2011 and put back on display in its original location in the Great Hall.

The locomotive is 70 ft (21 m) long and weighs 165 tons, including the tender. It is painted LNER garter blue with red wheels and steel rims.” – taken from wikipedia.org

 

I always like to get feedback so please leave a comment or email info@purplefaye.co.uk

Till next time

Take care

Purple Faye x

purplefaye.co.uk

Visit to the Hepworth Wakefield Print Fair and The Rhubarb Triangle & Other Stories Photographs by Martin Parr Exhibition

Last Sunday (6th March 2016) I went to visit the Hepworth Wakefield Print Fair 2016

Held on the Saturday 5th and Sunday 6th 10am-5pm in The Calder (the converted mill space across from the main building) it was only the second year of the Print Fair and it featured over 40 printmakers. (The first fair last year attracted over 2000 visitors.)

I was looking forward to seeing the printmakers there that I’d met last year at The Art House in Wakefield when I took part in the Belay program which helped artists develop their business skills; Laura Slater, Bobshaped (Rachel Richardson), Wil Law, Rachel Sim, Ali Appleby and The Art House itself.

It was really nice to see them all and grab a quick chat to catch up and see how they’d been getting on. I didn’t want to distract them from their potential customers too much though  as there was a steady stream of people walking through. I was really pleased to hear how well each of them had been doing over the weekend and hopefully they continued to do so for the last couple of hours after I left them.

After visiting the Print Fair in The Calder I then popped over to the main building to check out the Martin Parr exhibition “The Rhubarb Triangle & Other Stories”. Unfortunatley I couldn’t stay for long but I had an enjoyable walk round the galleries looking at as much as I could. I especially liked the wall of his self portaits as part of the Autoportrait series.

 

The Martin Parr exhibition is on until the 12th of June at The Hepworth Wakefield if you wanted to go see it for yourself, admission is free

Open: 10am – 5pm Tuesday – Sunday
Closed Mondays except local school holidays and bank holidays
10am – 9pm Third Thursday of the month

About the Martin Parr exhibition:

“The Hepworth Wakefield is delighted to present a new commission and major survey exhibition by British photographer Martin Parr.

The Rhubarb Triangle & Other Stories is the largest Martin Parr exhibition in the UK since his Barbican retrospective in 2002, comprising more than 300 photographs that span the past 40 years.

A comprehensive overview of Parr’s work is on display, from early Yorkshire-based black and white photographs of rural communities to his recent international examinations of consumerism. Drawing on the implicit themes of labour and leisure present in the new Rhubarb Triangle commission, the exhibition brings together photographs from multiple series and commissions to address contemporary global networks of industry and consumption. Key series include: The Non-Conformists, 1975-80; The Last Resort, 1983-85; The Cost of Living, 1989; Autoportrait, 1991-2012 and Common Sense, 1995-99.

The Rhubarb Triangle new commission lies at the heart of the exhibition and comprises a series of photographs taken over the last 12 months in an area of countryside known as ‘The Rhubarb Triangle’ between Wakefield, Morley and Rothwell in West Yorkshire, which is famous for producing early-forced rhubarb. Parr’s photographs capture all aspects of the rhubarb business, from the back-breaking work of moving the rhubarb from field to shed, the freezing cold and exhausting labour of picking the vegetable by candlelight (or occasionally by head-torch), and the consumption of the rhubarb by coach parties and food tourists.

The exhibition presents a chronological overview of Parr’s iconic series of works. The Non-Conformists and the Calderdale series, taken at the beginning of his career, reflect his experiences of living in and growing up in Yorkshire. After graduating from Manchester Polytechnic, Parr moved to Hebden Bridge in West Yorkshire where he embarked upon a project with his future partner Susie recording the disappearing communities around this small town. Parr was already familiar with Yorkshire from his early life, his paternal grandparents George and Florrie lived in Calverley in Leeds and he spent childhood holidays in the county, visiting Scarborough, Brimham Rocks and Bradford.

The Rhubarb Triangle & Other Stories will also include his acclaimed series The Last Resort, documenting the leisure time of the working class in the seaside town of New Brighton which contributed towards the transformation of documentary photography in Britain. We will also show Parr’s subsequent project, The Cost of Living, a photographic essay portraying the new middle classes of 1980s England at home, at parties and meetings, shopping, and going about their everyday life.

Parr’s investigation of cultural identity, aspiration and image is further addressed in the Autoportrait series, within which Parr presents himself as subject of studio portraits around the world. His increasing international work, photographing around the world for commissions or his own projects on themes such as tourism and beaches, is drawn together in two groups, Work and Leisure, to present the labour that produces the objects, food and environments that we consume, and the results of that often, ironically, uneasy experience of leisure time.

The exhibition is accompanied by a publication on The Rhubarb Triangle featuring an essay by Martin’s partner, Susie Parr.” -taken from hepworthwakefield.org/martin-parr/

 

Till next time,

Take care

Purple Faye x

Purple Faye’s DIY Cat Litter Tray Enclosure

I have 3 young (Dexter and Damien have just turned 2 and Naughty Norman turns 3 years old in June) boy cats. They are all house cats and don’t go outside so their litter trays get smelly pretty quickly. I’ve been managing to put up with it, my boyfriend less so, and after my sister showed off the litter tray enclosure that my dad had built her for her 2 boys my boyfriend said that he would make one for my 3. (That was in January)

Since then I’ve been clearing out the back bedroom that I had been using as my art studio (now I have my studio in Pontefract most of the stuff can be moved into there). Including the very big bits of MDF that I’d been using as a workbench and had previously been in my kitchen holding the oven before I ripped it all out and put my shiny purple kitchen in instead.

Now being the resourceful person that I am, and not liking to waste things by just throwing them away, I thought that since I didn’t really need the workbench anymore that they would be perfect to make a litter tray enclosure out of.

So rather than wait for my boyfriend to get round to making one when he got chance I decided that I’d use my big bits of MDF and see what I could come up with.

It’s not as good as the one that my dad made for my sister but I’m quite pleased with it anyway, and it didn’t cost me anything apart from the £6 for the catflap.

Now my house is less smelly and I’ve moved the big bits of MDF out of my back bedroom, win win.

The cats seem to like it too……

 

Till next time

Take care

Purple Faye x

purplefaye.co.uk

How I made the “Spitfire MK VB” 3D Acrylic Painting

Here’s how I made the “Spitfire MK VB” 3D Acrylic Painting…..

A bit about the Spitfire:

“The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries before, during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be popular among enthusiasts, with approximately 53 Spitfires being airworthy, while many more are static exhibits in aviation museums throughout the world.

The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works, which operated as a subsidiary of Vickers-Armstrong from 1928. In accordance with its role as an interceptor, Mitchell supported the development of the Spitfire’s distinctive elliptical wing (designed by B. Shenstone) to have the thinnest possible cross-section; this enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants.

During the Battle of Britain, from July to October 1940, the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Nazi German air force, the Luftwaffe. Spitfire units, however, had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes because of its higher performance. Spitfires in general were tasked with engaging the Luftwaffe fighters (mainly Messerschmitt Bf 109E series aircraft which were a close match for the Spitfire) during the Battle.

After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlins and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire’s performance and capabilities improved over the course of its life.” taken from en.wikipedia.org

“The VB became the main production version of the Mark Vs. Along with the new Merlin 45 series the B wing was fitted as standard. As production progressed changes were incorporated, some of which became standard on all later Spitfires. Production started with several Mk IBs which were converted to Mk VBs by Supermarine. Starting in early 1941 the round section exhaust stacks were changed to a “fishtail” type, marginally increasing exhaust thrust. Some late production VBs and VCs were fitted with six shorter exhaust stacks per side, similar to those of Spitfire IXs and Seafire IIIs; this was originally stipulated as applying specifically to VB(trop)s.[82] After some initial problems with the original Mk I size oil coolers, a bigger oil cooler was fitted under the port wing; this could be recognised by a deeper housing with a circular entry. From mid-1941 alloy covered ailerons became a universal fitting.” taken from en.wikipedia.org

 

If you have any further questions about how I made it then please feel free to ask or just let me know what you think about it,

comment below or email info@purplefaye.co.uk

 

Till next time,

Take care

Purple Faye x

purplefaye.co.uk