Monday, 28 February 2011
Platters back in stock
Friday, 25 February 2011
Featured Artist - Mangle Prints
I'm starting a regular blog feature, linking up with artists whose work I admire. They are people like me, who are starting businesses from home, selling their work on line and trying to self promote. First up is Amanda Colville of Mangle Prints. Amanda has been kind enough to reciprocate and you can read my responses here.
What is your background?
I live in Norfolk with my husband and 3 children. I originally trained in graphic design when I left school, but when I left college, I had to find alternative work, and worked for years as a support worker in Mental Health and housing. It was about 2 years ago that I was diagnosed with an immune disorder (SCID) that meant I had to rethink my career and work. It was then that I decided to re-kindle my original plans of working in art and design and took a part-time printing course at my local college. Since then I have had gained a passion for printing and have enjoyed being able to concentrate on producing artwork again.
What mediums do you work with?
Primarily lino-cut at the moment, but I do love to mix mediums, and experiment with materials. I often use other mediums such as wax and ink in my prints to get the effect I want. I love using paper too, and have enjoyed producing paper-cuts and collage pieces, often incorporating wax, buttons and old pieces of texts from unwanted and damaged books. I tend to use anything I have to hand to try and achieve an interesting effect to the finished piece.
What other work do you do?
At the moment, this is my main job. It means I can balance work, family and my health much more easily by working for myself, but it still hard work, but it's something I love and enjoy, so I'm very lucky.
How do you market yourself?
I have mainly stuck to on-line resources such as Facebook, Twitter and my blog. I find it difficult to self-promote though, and it's taken a little while to find the confidence to do so. I have a lot of support from a local Art Space too, Greyfriars Art Space in King's Lynn, who have been fantastic in supporting what I do.
Where do you sell and exhibit?
Currently I have two on-line stores on Folksy and Etsy, but also sell at The Hare and The Hen at Burnham Deepdale. The owner Philippa, stocks a really beautiful mix of ceramics and artwork, from national and local artists. In the past, I have exhibited at Greyfriars Art Space and The King's Lynn Art Centre as part of the Eastern Open Art Competition.
How do you see your work developing?
It would be fantastic to be able to keep printing, perhaps looking at fabric and textile printing too. I'm always experimenting with new ideas, so who knows where I'll be in six months' time?
Who are your heroes?
Originally, I was always heavily influenced by the work of the early illustrators of the golden age, such as Arthur Rackham, Beardsley and the elegance of Eric Gill. Also the beautiful work of the Art and Craft movement, from their fabrics, wallpapers, furniture to books and stained glass. I have always had a passion for their beautiful designs drawn directly from nature.
If you could steal one piece from a gallery what would it be?
Oooh, difficult, there are so many!! A lovely original Matisse paper cut would look fantastic hanging in my living room though!!
What books and blogs can't you live without?
Wow, what a question- there are so many fantastic blogs out there at the moment it's difficult to choose. One of my favourite blogs at the moment is the All Things Considered blog by St Judes Gallery, based in the tiny village of Itteringham in North Norfolk. It hosts some fantastic artwork by some of the best of British printmakers at the moment.
Thursday, 24 February 2011
Art heist
Wednesday, 23 February 2011
The Big Squeeze
The last few years have been an uphill struggle. Having kids rocked our world in amazing and extreme ways. Creativity and sleep deprivation don't sit well for me. Then there was the job situation. I had two design agents whose businesses went to the wall in the early stages of the recession. Dave did hourly paid lecturing, the cuts meant he lost two thirds of his hours. Whilst I was knee deep in nappies, he became a supply teacher, we compromised our ambitions, our lives became a parody of 1950's domesticity. Supply teaching is a fickle world and in between waiting for the phone to ring, I've done all that I know how to do and plodded on, designing and creating.
So why the sudden outpouring? I've taken life on the chin. No one said living by our creativity was going to be easy. Everyone loses and then finds themselves when they become a parent. One of my main reasons for creating the life I have, is as an example to my children. I want to empower them to live a life that is true to their soul. To equip them with the skills to not just be an efficient cog in an economic machine. I want them to be humans!
Which brings me forward to the impetus for this outpouring. I read the following interview with Antony Gormley in the New Statesman.
The NS Interview: Antony Gormley, Artist
This article was written by Samira Shackle and published in the New Statesman.
“You should definitely cut defence before you cut art”
Were you always going to be an artist?
No. It wasn't one of these things where at the age of three I knew that I was going to be a painter. Far from it. It was a slow realisation that I couldn't be anything else.
No. It wasn't one of these things where at the age of three I knew that I was going to be a painter. Far from it. It was a slow realisation that I couldn't be anything else.
Did your upbringing have an influence?
I was educated by monks [at Ampleforth College] - I thank them dearly for the education they gave me, but I am no longer a Catholic. But, having been one, I have, in the words of William Blake, to make my own system or I will be enslaved by another man's. I think that's what I am doing - trying to construct my own system. It's a dangerous thing for an artist.
I was educated by monks [at Ampleforth College] - I thank them dearly for the education they gave me, but I am no longer a Catholic. But, having been one, I have, in the words of William Blake, to make my own system or I will be enslaved by another man's. I think that's what I am doing - trying to construct my own system. It's a dangerous thing for an artist.
Do you see your art as having a purpose?
I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.
I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.
Why are you so drawn to the human body?
It's funny, I'm not that interested in it as a body: I'm interested in it as the place where we all live. It's the collective, subjective condition of a human being.
It's funny, I'm not that interested in it as a body: I'm interested in it as the place where we all live. It's the collective, subjective condition of a human being.
You often use your own body in your work.
It saves a lot of hassle. Why make another body when you've got one already? It releases you from the stranglehold that art has had placed
on it, more or less from the Renaissance, which is the making of the perfect copy.
It saves a lot of hassle. Why make another body when you've got one already? It releases you from the stranglehold that art has had placed
on it, more or less from the Renaissance, which is the making of the perfect copy.
Are you a victim of critical snobbery?
It is impossible to escape. If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it you become tarred with the brush of populism.
It is impossible to escape. If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it you become tarred with the brush of populism.
Is connecting people with art important to you?
It's wonderful to see art in a museum, but it is institutionalised. I don't like the idea of the artwork as something that requires special conditions. I would like it to be universal.
It's wonderful to see art in a museum, but it is institutionalised. I don't like the idea of the artwork as something that requires special conditions. I would like it to be universal.
So, the idea is that art belongs to everyone?
Each one of us is a creative, responsive individual. You can't push people into the position of being dumb, of being consumers of spectacle. For me, it's very important that art becomes commonly owned again.
Each one of us is a creative, responsive individual. You can't push people into the position of being dumb, of being consumers of spectacle. For me, it's very important that art becomes commonly owned again.
Would you say this is a good time for art?
Oh, very. British art has come of age. We had always been apologetic. We aren't any more. There is a sense that the visual arts in Britain are setting the agenda for people all over the world. It's never happened before.
Oh, very. British art has come of age. We had always been apologetic. We aren't any more. There is a sense that the visual arts in Britain are setting the agenda for people all over the world. It's never happened before.
Has the art world become overly commercial?
I think that you could say markets follow energy. If there wasn't the energy, there wouldn't be anything to sell. But I think you can always tell when artists are more interested in money than they are in discovering and using their voice for its own sake.
I think that you could say markets follow energy. If there wasn't the energy, there wouldn't be anything to sell. But I think you can always tell when artists are more interested in money than they are in discovering and using their voice for its own sake.
Should art mix with politics?
Art and politics are inextricably linked, and art has always been an arena in which human freedom has been tested and extended. That's what my Fourth Plinth project was all about - a test site for human identity and for the demonstration of our liberties.
Art and politics are inextricably linked, and art has always been an arena in which human freedom has been tested and extended. That's what my Fourth Plinth project was all about - a test site for human identity and for the demonstration of our liberties.
What do you make of the coming cuts to arts funding?
Disastrous. You should definitely cut defence before you cut art. Art is the way that an individual and a nation express their vitality. Without it, we might as well not be alive.
Disastrous. You should definitely cut defence before you cut art. Art is the way that an individual and a nation express their vitality. Without it, we might as well not be alive.
Should the arts receive special protection?
The idea that somehow art should be cut in the same way as everything is just completely and utterly indefensible. It is as if somehow we are having to be buried as well as being told that we are poor and starving.
The idea that somehow art should be cut in the same way as everything is just completely and utterly indefensible. It is as if somehow we are having to be buried as well as being told that we are poor and starving.
Can philanthropy fill the gap?
That's wishful thinking. The American model, where national institutions and their boards are in some way influenced by the largest funders, is open to extreme abuse. I would never discourage philanthropy, but there is a huge difference between patronage and state funding. The state has a duty to be a good patron.
That's wishful thinking. The American model, where national institutions and their boards are in some way influenced by the largest funders, is open to extreme abuse. I would never discourage philanthropy, but there is a huge difference between patronage and state funding. The state has a duty to be a good patron.
What do you think of the coalition so far?
I'm waiting.
I'm waiting.
Do you vote?
I certainly vote. I continued to vote for Labour in the last election.
I certainly vote. I continued to vote for Labour in the last election.
Is there a plan?
There was a plan to try to be a good artist. And that's still the project.
There was a plan to try to be a good artist. And that's still the project.
Is there anything you would like to forget?
I deeply regret the loss of my eldest brother. I don't ever want to forget him, but I regret that he died.
I deeply regret the loss of my eldest brother. I don't ever want to forget him, but I regret that he died.
Are we all doomed?
It's up to us.
It's up to us.
Defining Moments
1950 Born in London
1971 Completes degree in archaeology, anthropology and art history at Trinity College, Cambridge
1977-79 Attends Slade School of Fine Art
1994 Wins Turner Prize with his terracotta sculpture series Field
1998 Made Officer of Order of the British Empire (OBE) for services to sculpture
2010 Signs an open letter to Jeremy Hunt, Culture Secretary, protesting at arts cuts
His comment that, 'There is a sense that the visual arts in Britain are setting the agenda for people all over the world', struck a cord. In the run up to the general election, I watched Youth Question Time on BBC3. Rory Bremner was on the panel, responding to a question on youth unemployment. He praised Britain's world standing in the visual arts, and proposed the creative industries as ripe for investment as an industry that could build Britain's economy and give us a unique field of excellence on the world stage. Instead, the Government bailed out the banks.
Why is our arts cultutre so undervalued? Why are we content to sit in our garrets and be sidelined as insignificant. I work my butt off to earn money doing what I do. I work for nothing, only making money when I sell. There is no minimum wage in this house. And now I am angry! I've kept my motivation but around me I see efficiency drives squashing our arts resources into a lump on the side, not the vital, intrinsic, human centre of our society. As Antony Gormley said, 'The idea that somehow art should be cut in the same way as everything is just completely and utterly indefensible. It is as if somehow we are having to be buried as well as being told that we are poor and starving.'
1971 Completes degree in archaeology, anthropology and art history at Trinity College, Cambridge
1977-79 Attends Slade School of Fine Art
1994 Wins Turner Prize with his terracotta sculpture series Field
1998 Made Officer of Order of the British Empire (OBE) for services to sculpture
2010 Signs an open letter to Jeremy Hunt, Culture Secretary, protesting at arts cuts
His comment that, 'There is a sense that the visual arts in Britain are setting the agenda for people all over the world', struck a cord. In the run up to the general election, I watched Youth Question Time on BBC3. Rory Bremner was on the panel, responding to a question on youth unemployment. He praised Britain's world standing in the visual arts, and proposed the creative industries as ripe for investment as an industry that could build Britain's economy and give us a unique field of excellence on the world stage. Instead, the Government bailed out the banks.
Why is our arts cultutre so undervalued? Why are we content to sit in our garrets and be sidelined as insignificant. I work my butt off to earn money doing what I do. I work for nothing, only making money when I sell. There is no minimum wage in this house. And now I am angry! I've kept my motivation but around me I see efficiency drives squashing our arts resources into a lump on the side, not the vital, intrinsic, human centre of our society. As Antony Gormley said, 'The idea that somehow art should be cut in the same way as everything is just completely and utterly indefensible. It is as if somehow we are having to be buried as well as being told that we are poor and starving.'
Monday, 21 February 2011
Marketing maestro
Thursday, 17 February 2011
Monday, 14 February 2011
Vintage children's books
Friday, 11 February 2011
Getting on with it
"People travel to wonder at the height of mountains, at the huge waves of the sea, at the long course of rivers, and they pass by themselves - without wondering." St. Augustine
My time spent wondering what robots did for their birthday paid off as I sold that design at Spring Fair. Call it beginners luck, but by an alignment of the stars, moon and planets in my favour, that one design in a huge pile of designs, on one stall amongst very many stalls, somehow caught a buyer's eye and is off to the States to be printed.
It's encouraged me to carry on and I'm setting myself some new work targets, including florals, baby and Christmas.
David has been getting some work and I finally feel I can breathe normally. I wonder about this period he's not been working. Without it, I'd not have had the time and motivation to make the decisions I have and build a business. I'm often wishing that I had a crystal ball, to check up on myself down the line. It's been a very bumpy five years and here we are, still enjoying life. The simplest pleasures have got us through.....and I suppose, the fact that we are Us.
Anyway, mustn't rest on my laurels, one design sold does not a happy bank account make. Hope you're all noticing the bulbs twitching their noses above the surface of the soil.
Thursday, 10 February 2011
Paper and Cloth Animation
After looking at the Print Pattern blog this morning, I clicked through to this delightful animation from the team at Paper & Cloth studio.
My head is filled with everything I saw at Spring Fair yesterday afternoon. Twenty halls of the NEC filled with giftware, cards, gift wrap, licensing agents and art. Hopefully some ideas stuck in my head and will soon see the light of day on new designs.
I really loved the Bliss Home stand, displaying the new Orla Kiely House range .... I would love a fancy crock for my compost!
Wednesday, 9 February 2011
Helen Hallows creative workshop
Here are the details of a creative workshop I am running on Sunday March 13th at Beans Coffee Shop Gallery in Bolsover near Chesterfield. It's a lovely cafe gallery and the lunch(made by proprietor Karen)will be delicious! I would love it if you can join me for a day of mark making, collage and surface embellishment inspired by a memory of a special person or place. I'll be bringing lots to inspire and have been rummaging through my vintage papers and making up creative packs for the day. Hope to see you there.
Recording Memories using Paper, Stitch and Mark Making
Wish HH 2010
Sunday, 13 March. 10am – 4pm
In her work Helen creates original framed artworks using a variety of media. This one day workshop will introduce you to creating marks with ink, paint, pastel and pencil. Combining these experimental patterns with vintage papers you can create an original artwork. Inspired by capturing the moment, Helen will help you work toward recording a vivid memory of a special person, place or occasion. You can also experiment with surface embroidery to fuse together the layers of your piece. Suitable for beginners as well as experienced artists, and inspiring for creative journallers and scrapbookers. Materials provided with some for sale. Bring photographs to inspire you or work from memory and instinct like Helen.
£45 including lunch.
Grow HH2010
Tuesday, 8 February 2011
Monday, 7 February 2011
Happy Birthday Grandma!
Today my amazing Grandma turns 100! Hope you have a lovely day Grandma, celebrating all the wonderful achievements of your life so far. We're really looking forward to the party!
Sunday, 6 February 2011
Spring Fair 2011
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