‘There is nothing – absolutely nothing – half so much worth doing as simply messing about in a shed,’ as Ratty didn’t quite say in The Wind in the Willows. I had great fun writing about the joy of sheds for the August issue of Country Living, on sale now. Impossible to resist the idea of a room of one’s own – especially if it’s in the garden…
Table in a Spring Window is one of several paintings I have in the Piers Feetham Gallery summer show, which runs until 3 August. A really lovely exhibition in a wonderful gallery, full of light and distinctly summery, with beautiful work by artists including Glyn Saunders, Caroline McAdam Clark, Roger Hardy, Susie Elliot and Christie Bird. Well worth a visit: 475 Fulham Road, London SW6.
‘Sewing’ is one of four paintings I’m showing at the 72nd annual Chelsea Art Society exhibition, which opens on Thursday 13th June. Five days of inspiring work from established artists and open submissions – and all completely free. (Free to view, that is – you’ll have to pay up if you want to take something home with you, but there will be loads of affordable paintings, prints and sculptures…)
Chelsea Old Town Hall, Kings Road, London SW3 5EE, Thursday 13th-Monday 17th June (for opening times see chelseaartsociety.org.uk).
Anemone and Hyacinth will be on show at the New English Art Club exhibition, 14-22 June. I’m so glad to be part of this exhibition again. It’s at the beautiful Mall Galleries (an easy walk from Charing Cross, Waterloo and the West End) and should include masses of interesting work by NEAC members and other artists. Come if you can!
Delighted to have sold this painting (Window sill: Where the light falls) at the first ART@INK exhibition last month, part of the fabulous INK Festival that’s become an April fixture in the cultural calendar of the lovely town of Halesworth in Suffolk. It was a privilege to be shown alongside brilliant artists including Roger Hardy, Dina Southwell, Melanie Goemans and Sula Rubens, in the beautiful top-floor gallery of The Cut arts centre – and to be able to enjoy the packed programme of short plays (great drama, superb acting) running in the theatre spaces downstairs. Very happy that part of the proceeds from paintings sold go to fund the festival and the work it does for theatre in the community. Long may it continue – already looking forward to next year.
Very exciting to have a painting featured in the Emporium pages at the front of the March issue of Country Living – alongside beautiful things from people like Seasalt and Designers Guild. I write features for the magazine quite regularly, but this is the first time they’ve shown one of my pictures, and it’s been lovely to hear from readers who are interested in them.
I’ve been thrilled to see What a Hazard a Letter Is in such good company at bookshops including Hatchards (above), Daunt and Waterstones – and by the reviews in newspapers and magazines. And I love the way it seems to have tapped into a revival of interest in the whole idea of traditional, stamp-and-envelope correspondence.
‘It’s a charming book, witty, original and wise.’ Christopher Hart, Sunday Times
‘This gloriously varied collection… Within these fascinating pages jostle Beethoven, John F Kennedy, Van Gogh, Boris Johnson, Oscar Wilde, John Major and more.’ Bel Mooney, Daily Mail
‘Caroline Atkins’ sparkling collection… a great idea for a book.’ Cressida Connolly, Spectator
‘It’s an enchanting book and, quite soon, any country-house bedroom that doesn’t have it on one of its occasional tables won’t be worth sleeping in… Don’t deprive yourself a moment longer. Buy the book.’ Clive Aslet, Country Life
This idea grew out of a chance conversation with my friend Graham Coster, publisher of Safe Haven Books. I’d been reading Janet Malcolm’s fabulous The Silent Woman, about her exploration of the relationship between Sylvia Plath and Ted Hughes, in which she describes writing a letter to a fellow biographer – and then not sending it. Her analysis of the motives that made her write, but not send, the letter is fascinating: the unsent letter, Janet Malcolm suggests, would be an interesting genre for study. In fact, Graham said to me, it would make a good book. And then he said: ‘When are you going to write it?’
So I did – with his help in researching and sourcing letters from history, literature, diaries and elsewhere. Letters written in anger and then thought better of, letters that no longer needed to be sent because writing them was therapy enough, and letters that remained undelivered because of mishap, misdirection or some other intervention. Plus letters that were expected but never arrived (and even some that did arrive, but were then treated by the recipient as though they hadn’t…). It was a chance to revisit favourite books – everything from Iris Murdoch and Dorothy L. Sayers to Anthony Buckeridge’s school stories (the unsent drafts of Jennings’ and Darbishire’s first postcards home are an enduring delight) – and to investigate the circumstances that left sometimes quite significant letters quietly, poignantly, unsent.
The title, incidentally, comes from a letter of Emily Dickinson’s (later turned into a poem): her point was that letters are like unexploded bombs, carrying material that can wreak havoc in our lives, so we should be careful what we write.
What a Hazard a Letter is: The Strange Destiny of the Unsent Letter is published by Safe Haven Books on 20 September, price £14.99.
Wrapping paintings for delivery after our exhibition at 54 The Gallery, Shepherd Market – a really lovely week in a beautiful gallery hidden away in the backstreets of Mayfair. Surrounded by cafés, and well away from the traffic, it felt more like continental Europe than central London, and the glorious weather gave the whole week a happy buzz. In some ways it felt like a holiday – but we worked hard too, selling well and making loads of new contacts. Thank you to everyone who came and saw our pictures – whether you bought, or just found the time to discuss our work with us, we really enjoyed seeing you.
I’m exhibiting this month alongside three brilliant artists at 54 The Gallery, Shepherd Market, in Mayfair. The show is going to be packed with colour and drama – and it’s a wonderful venue, surrounded by cafés, restaurants and other galleries (with the Royal Academy only a five-minute walk away). Really looking forward to it – and hope to see lots of friends and artists there.
TAKE 4 runs from Monday 22nd to Saturday 27th May, 10am – 6pm.
Nearest tube: Green Park
I’m finishing frames for an exhibition with friends and fellow artists Penny Sandeman and Sarah Rivett-Carnac, which opens on 27th September at the Piers Feetham gallery in Fulham. It should be an interesting mix of work – Penny paints wonderful portraits and Sarah has been working on a new collection of dramatic abstracts. And it’s a lovely space to exhibit in: the three of us had a joint show there in May 2013, and we’re very happy to be back.
Piers Feetham Gallery, 475 Fulham Road, London SW6 1HL (just opposite the Chelsea football ground: nearest tube Fulham Broadway). www.piersfeethamgallery.com
The nice people I work for at YOU magazine commissioned me to write a piece on getting a picture into last year’s Summer Exhibition at the Royal Academy. It involved being photographed in the galleries wearing ‘bright summery clothes’ (not my usual style) and standing rather gormlessly in front of my painting while that morning’s visitors to the exhibition tried not to look too curious. When the photographer had finished, one of them approached me and said, ‘Could I ask – are we meant to know who you are?’ Sadly, no. (You can find the story using the link below.)