ALUMNAE SUMMER ART & TEXTILES EXHIBITION BGS, 2022 ALEX, YEAR 13
BEDFORD GIRLS' SCHOOL
ALISON HUDSON (NÉE JOYCE) (DAHS, 1980) 'Sea of Green' a painting of a continuously changing landscape by Alison Hudson, formerly Alison Joyce Art w a s m y f a v o u r i t e s u b j e c t a t s c h o o l, a lo n g w i t h h i s t o r y a n d g e o g r a p h y , a n d I s t ill e n j o y b e i n g c r e a t i v e i n a n y w a y . D u r in g my art foundation course I discovered that I liked working with wood and went o n t o s t u d y T h r e e D i m e n s i o n a l D e s ig n a t Preston. My professional path has not d i r e c t l y u s e d t h e a r t a n d d e s i g n s k ills
At that time there was a political protest
t h a t I h a v e , b u t I d i d n ’ t h a n g u p m y p a in t b r u s h e s a n d I e n j o y w o r k i n g i n a c r y lic s . In 2009 I was lucky enough to spend a week
g o i n g o n i n I r a n a g a i n s t e l e c t i o n r e s u lt s w h i c h s t u d e n t s c l a i m e d w e r e r ig g e d .
i n a c o t t a g e o v e r l o o k i n g t h e s a lt m a r s h e s at Brancaster in Norfolk. I took my art equipment with me and set up my easel by the window. The salt marshes were c o n t i n u o u s l y c h a n g i n g b e c a u s e t h e t id e was coming in and out.
M y h u s b a n d , P a u l , a n d I f o l l o w e d th is w it h some excitement, perhaps because of the r e l a t i v e n e w n e s s o f T w i t t e r a n d th e i m m e d i a c y o f s e e i n g e v e n t s u n f o ld in g o n social media. This movement was known as ‘Sea of Green’ as the banners used by the protesters were green.
T h e g r e e n v e g e t a t i o n w o u l d b e r e p la c e d b y s e a w a t e r a s t h e c r e e k s f i l l e d u p , th e n t h e w a t e r s w o u l d r e c e d e . T h e r e w a s a lo t o f m o v e m e n t t o o , b e c a u s e t h e w in d w a s b l o w i n g a c r o s s t h e m a r s h c a u s in g t h e grasses and rushes to sway and bend. I p a i n t e d f r o m w h a t I c o u l d s e e , w h ic h was a constantly changing landscape. I h a v e c h o s e n t o s h o w t h i s p a i n t in g a s I recorded its creation. 01
I t s e e m e d a v e r y a p p r o p r i a t e a n d to p ic a l t i t l e f o r t h e p a i n t i n g . S a d l y t h e p r o te s t s w e n t t h e w a y o f m a n y p r o t e s t s in t o t a l i t a r i a n c o u n t r i e s , a n d ‘ S p a r r o w h a w k ’, whose tweets we followed, was soon no longer to be heard. The changing landscape remains on the N o r t h N o r f o l k c o a s t , a n d t h i s p a in t in g continues to remind me of that beauty and t h a t h o p e t h a t w e h e l d a t t h a t tim e .
The continuously changing salt marsh. . . . a n d t h e g r a d u a l l y e v o l v i n g p a in tin g .
Thoughts about Time ‘Time becomes neither simply cyclical nor simply linear. It moves, you change; at the same time there is something to which you return, to discover and enlarge the understanding acquired in the passage of time. And all of that adds up to dissolving any idea that time is a limited commodity (or indeed any kind of commodity) that has to be squeezed as hard as possible to keep the trajectory of acquisition going. Time is a complex and rich gift; it is the medium in which we not only grow and move forward but also constructively return and resource - literally re-source - ourselves.’ Rowan Williams ‘Being Human’ I experienced something of this beside the Salt Marshes at Brancaster
BEDFORD GIRLS' SCHOOL
ANYA PEIRSON (DAHS, 1996) M y f i r s t e x p e r i e n c e o f p h o t o g r a p h y , o th e r th a n th e s n a p p y s n ap s i n s tan t c am e r as o c c a s i o n a l l y d e v e l o p e d a s a p r e - te e n w ith g r e a t a n tic ip a tio n b u t di s ap p o i n ti n g r e s u l t s , c a m e w h e n w e w e r e g i v e n m a n u a l S L R s b y M r D u n c a n in D T a t D am e A l i c e i n c i r c a 1 9 9 4 / 1 9 9 5 . W i t h i n s t r u c t i o n s t o t a k e p h o to g r a p h s in th e s c h o o l g r o u n ds o f w h at e ve r w e w i s h e d , I r e c a l l s p e n d i n g a s ig n if ic a n t a m o u n t o f tim e f o c u s e d o n th e s c h o o l ’ s g a r d e n t a p . W e p r o c e s s e d i n t h e s c h o o l la b w h ic h , w ith th e d im l i g h t an d qu i e t, fe l t l i k e a s e c r e t w o r l d . I r e c a l l t h e s m e ll o f th e c h e m ic a ls , e x c ite m e n t o f fi r s t g l i m p s e s an d t h e o c c a s i o n a l y e l l o f “ S h u t t h e D O O R !”. I s p e n t m a n y y e a r s t h e r e a f t e r c o m f o r ta b ly b e h in d th e le n s , gai n i n g a g r e at de al o f j o y t a k i n g p h o t o g r a p h s f o r o t h e r s ; p r o v id in g th e m w ith r e m in d e r s o f s p e c i al days . G r a d u a l l y , h o w e v e r , t h e t e m p t a tio n to s n a p m u ltip le s h o ts le d to h o u r s h u n c h e d o ve r a l a p - t o p t w e a k i n g a n d s c r e e n i n g . T h is , c o u p le d w ith th e f r u s tr ati o n o f a r e g u l ar l y c r a s h i n g s c r e e n , m e a n t t h e l o v e o f c a p tu r in g p r e c io u s m o m e n ts s tar te d to w ai n . I p u t d o w n t h e d i g i t a l S L R . I n f a c t , I z ip p e d it u p in th e r u c k s a c k o f k i t an d l e ft i t to g at h e r dust in the bottom of my wardrobe. M o v i n g o n 1 0 y e a r s a n d I f o u n d m y s e lf s ta n d in g o n a p a d d le b o ar d o n T h e R i ve r G r e at O u s e a t G r e a t B a r f o r d w i t h a n iP h o n e in a w a te r - p r o o f c a s e . Th e di m l i g h t o f s u n r i s e , t h e h a z e o f a n e w m o r n i n g , t h e q u ie t g e n tle r h y th m a n d s p lo sh o f h an d i n c o o l w at e r , t o g e t h e r , g a v e m e a m o m e n t I w is h e d to r e m e m b e r . I p la c e d th i s m o m e n t i n th e fr am e a s f e l t f a m i l i a r , c o n s i d e r e d t h e lig h t a n d s y m m e tr y , to o k tim e to g ath e r m y th o u g h t s , a n d s n a p p e d . O n e p i c t u r e , m a y b e t w o . E d ite d w ith to w e l d r ie d h an ds w i th i n s e c o n ds o n t h e p h o n e o n t h e r i v e r b a n k a n d u p lo a d e d to p r in t o n c a n v a s an d th e n p l ac e d o n a w al l as a memory. A m e m o r y o f a m a g i c a l e a r l y m o r n in g s w im w ith a g o o d f r ie n d , b u t al s o o f th e r u s h o f l i n i n g u p t h e s h o t y o u t h i n k c o u ld b e g o o d . T h e r e w a s jo y f o r m e th at day o n th e r i ve r , a n d I f e e l t h e s o u r c e o f i t w a s d o w n b y th e s c h o o l ta p .
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ARTREVIEW | ISSUE 23
BEDFORD GIRLS' SCHOOL
CAROLYNNE ROBERTS (NEÉ PEACOCK) (DAHS, 1971) CHRISTENING OUTFIT I w a s a t D A H S f r o m 1 9 6 4 - 1 9 7 1 . I w a s m o s tly i n t e r e s t e d i n s p o r t a n d w a s N e t b a ll C a p ta in a n d w e n t o n t o b e a P E t e a c h e r , b u t m y o th e r lo v e w a s making things either by sewing or through craft work. O n e o f m y c h o s e n ' A ' L e v e l s w a s N e e d le w o r k w h i c h w a s t a u g h t a t t h a t t i m e b y M is s W o o d g e r . I d e c i d e d t o m a k e a c h i l d ’ s c h r i s te n in g o u t f it, m a d e up of a coat, dress, petticoat, bonnet and bootees. A f t e r p a s s i n g t h e e x a m , t h e o u tf it w a s w r a p p e d in p l a s t i c a n d s t o r e d i n m y w a r d r o b e , I w a s n o t to know if it would ever be used. B u t a y e a r l a t e r i n 1 9 7 2 m y g o d d a u g h te r S a r e h P e r r y w a s c h r i s t e n e d i n i t ( p h o t o 1 S a r e h P e r r y ). H e r m o t h e r w a s S a l l y P e r r y o n e o f t h e P E te a c h e r s at Dame Alice. T h e o u t f i t w e n t b a c k i n m y w a r d r o b e a s I d id n o t k n o w i f i t w o u l d e v e r b e u s e d a g a in . T h e n i n F e b r u a r y 1 9 8 9 m y o w n d a u g h t e r K a y le ig h w a s c h r i s t e n e d i n i t ( p h o t o 2 K a y le ig h ) a n d h e r godmother was Sareh Perry (photo 3 Sareh Perry and Kayleigh) S i n c e t h e n i t h a s b e e n b a c k i n th e w a r d r o b e , u n til t o d a y . . . . 5 1 y r s a f t e r i t w a s m a d e ... a n d I s t ill haven’t finished the bootees!!! 01
BEDFORD GIRLS' SCHOOL
CATHERINE DALE (DAHS, 1981) Corona Stars Hello, my name is Catherine Dale and I made the Corona Stars Quilt. This is a brief history of the quilt. I was at Dame Alice in the 1970s. In the third form (now year 9) we had a term each of cookery, art and needlework, and I was absolutely hopeless at art, and even more so at needlework - so much so that I was one of only a handful of girls who were told not to even think of choosing it for O level! To be fair, I had to miss half of every class for a music lesson, and in those days, we had to share a sewing machine, so I don’t remember ever using it. The lessons were all about making clothes, and though I chose a lovely bright red fabric - I liked bright colours even then - to make a skirt, I was trying to hand sew it, and my mum wasn’t a sewer so she couldn’t help me, so it was never finished. I left needlework behind me, I thought for good, went to university, got married and became a chartered accountant. In 1990 I left work to have my son, and was lucky enough to stay at home for nine years to look after him and his sister who was born three years later. I wanted to do something creative, and, having been captivated by various quilting magazines, decided to try and make a quilt of my own. I bought packs of 5” squares in different colours, and sewed them together by hand, then managed to quilt it by hand as well. I joined a quilting group and over the next fifteen years or so I went to lots of meetings, did a few workshops, and made about 8 quilts in total, some of them very small, and some of them unfinished! I bought a sewing machine and graduated to piecing by machine, but still hand quilted them, which took a very, very long time. We moved to Bedford in 2003, so that our children could attend the Harpur Trust schools. I left my quilting group, and the quilting gradually fell into abeyance. But in 2019 I found a YouTube channel called ‘The Midnight Quilt Show’ with Angela Walters. She is a machine quilter, and I found her so inspiring that I decided to give it a go. Her mottos were that ‘close enough is good enough’ and ‘a finished quilt is better than a perfect quilt top’. I had lots of UFOs (unfinished objects) so I started making them into bags where I could practice my machine quilting without worrying about the final result, and the speed with which a project could be finished was fantastic! My confidence was increasing, so in February 2020 I went to a workshop at Tudor Rose Patchwork in Oakley to learn how to do a Mariners’ Compass block, that I had always wanted to learn. I was very pleased with the result, although it’s probably fair to say that I also learned a lot about how not to do it! You can see the Mariners’ Compass in the top left of the quilt. I didn’t like the pattern that the block was supposed to be in, and was thinking about what to make with the block instead, when, in March, we all went into lockdown. Although I continued working from home, 01 R T Rnothing E V I E W |to I Sdo. SUE 23 suddenly I wasn’t commuting into London, I had nowhere to go, no-one to Asee,
My weekends were entirely my own, and I decided to make a quilt that was a star sampler, where every block is different, incorporating the mariner’s compass block, and not laying the blocks out in rows. The diagram This meant that I needed to make stars of different sizes, and work out how to put them together. I decided that they had to be divisible by 2 and 4, and look interesting, so I ended up with four 12” blocks, eight 8” blocks, and four 4” blocks. I was left with a few spaces that didn’t quite fit, so I decided to have three 6” blocks, obviously not divisible by four, so I would have to let them encroach on the border. The ‘split Ohio Star’ (the red and blue one) was perfect for the corner. I also had to work out how to put the quilt together, as some of the blocks overlapped, and generally only straight lines can be sewn together. I realised that I could make some half-blocks, and sewing the parts of the quilt together would then complete the blocks. Once the quilt was sewn together, there were still some design elements to be worked out, notably the border. I wanted a ‘Flying Geese’ border (that’s the triangles) in different colours, and tried several layouts, as shown. However, even I thought that this mix of colours was excessive, and decided on a flow of colours around the quilt, with a Lemoyne Star in each corner. I sandwiched the quilt together with a plain blue background and wadding in the middle, and then I practised machine quilting on some other quilts first, before deciding I had to go for it. There are quite a few mistakes, but as Angela Walters said, from a distance it looks fine, and we are always our own biggest critic. In 2020 I finished 8 different quilts, as many as I had made over the last 20 years, and I am extremely happy with them all - but this one I think of specifically as my lockdown quilt, and it is on my sitting room wall. It is quite strange to me that my most enjoyable hobby today incorporates three of the subjects I liked least at school, in needlework, art and maths, and also involves a great deal of ironing, which counts as housework, another area where I am sadly lacking. For me the process of making the quilt gives as much joy as the finished object, and every quilt I make is a learning experience. I hope this has given some insight into the making of this quilt, and that you enjoy the exhibition
BEDFORD GIRLS' SCHOOL
DR JANE MAY MORRISON (FORMALLY MORRISON METCALFE) (DAHS, 2006) G a i a N o i r w a s a n e a r l y e c o - f a s h io n
F r o m u p c y c l e d p r e - l o v e d s k i r t s to e t h ic a l
business. It was run by sole trader and f o r m e r D a m e A l i c e H a r p u r S c h o o l s tu d e n t Jane May Morrison (formerly Jane
b r i d a l w e a r , f r o m c o s y b a m b o o -y a r n m it t e n s a n d c h e e k y V i c t o r i a n b l o o m e r s to tin y t r ic o r n
Morrison Metcalfe), from 2010 to 2015. Gaia Noir is sold via Etsy.com,
f a s c i n a t o r s i n c o l o u r f u l ‘ E c o - f i’ f e lt (m a d e , u n b e l i e v a b l y , f r o m 1 0 0 % r e c y c le d p la s t ic w a t e r b o t t l e s ) - a n d i t s a r c h i v e d E t s y p r o f ile
F o l k s y . c o m , i t s o w n w e b s i t e , a n d f a ir s a n d f a s h i o n s h o w s l o c a t e d n e a r th e h o m e
still shows its 100% positive customer feedback.
studio in Glasgow. T h e s e t w o i t e m s w e r e o r i g i n a l ly d e s ig n J a n e s t a r t e d t h e b u s i n e s s p a r t ia lly o u t o f e n v i r o n m e n t a l a c t i v i s m , a n d p a r tia lly out of a desire to work with her hands for a while, after achieving her first Degree f r o m G l a s g o w U n i v e r s i t y . T h e a im o f th e project was to demonstrate that s u s t a i n a b l e f a s h i o n d i d n o t h a v e t o f a ll into the categories of either awkward b e i g e - c o l o u r e d h e m p i n ‘ h i p p i e ’ s ty le s , o r h i g h - e n d , u n d e r s t a t e d w o r k w e a r f o r h ig h f l y i n g b u s i n e s s w o m e n . S u s t a i n a b le c o u ld b e f u n , s u s t a i n a b l e c o u l d b e a f f o r d a b le , a n d s u s t a i n a b l e c o u l d b e f o r f o lk s w h o p r e f e r r e d a l t e r n a t i v e s t y l e s . A f t e r a ll, f a b r i c i s f a b r i c . W h y n o t c u t a n d s h a p e it so everyone can join in the mass m o v e m e n t t o w a r d s a n e t h i c a l f a s h io n system? G a i a N o i r s o l d a c c e s s o r i e s a n d g a r m e n ts t o c u s t o m e r s a l l o v e r t h e w o r l d d u r in g its five years in business. 01
s a m p l e s , b u t b e c a m e p a r t o f J a n e ’s w a r d r o b e w h e n G a i a N o i r c l o s e d in 2 0 1 5 (a b i g p a r t o f e c o - f a s h i o n p h i l o s o p h y b e in g ‘ D o n ’ t C h u c k I t O u t I f Y o u C a n P o s s ib ly S t ill U s e I t ’ ! ) . T h i s g r e y r u f f l e d b l o u s e , in s p ir e d b y t h e ‘ E l e g a n t G o t h i c L o l i t a ’ s u b c u ltu r a l s t y le s of Japanese street fashion, is made from o r g a n i c a n d F a i r t r a d e - F o u n d a t i o n - c e r t if ie d c o t t o n . I t f e a t u r e s u p c y c l e d t r im s a n d u n i q u e v i n t a g e b u t t o n s . T h e r u c h e d r e d s k ir t is similarly inspired and also sewn from o r g a n i c a n d f a i r l y - t r a d e d c o t t o n . T h e L o lit a and Gothic subcultural influences are p a r t i c u l a r l y v i s i b l e i n t h i s p i e c e ; its a n k le l e n g t h , r u c h e d l a y e r s e c h o i n g t h e lo n g V i c t o r i a n b u s t l e s k i r t s o f t h e 1 8 8 0 ’s . Jane went on to take her environmental activism in other directions, and she achieved a PhD in Human Geography from the University of Exeter in March 2022. A d m i t t e d l y , s h e d i d s t i l l d o i t d r e s s e d lik e a n e c o v e r s i o n o f E d g a r A l l e n P o e ’ s la u n d r y .
BEDFORD GIRLS' SCHOOL
ELLEN STULTIENS (BGS, 2017) T h e R o p e T h a t B i n d s U s, i s a m e t a p h o r f o r how humans are restricted by other humans, a s p l a n t s a r e b y o t h e r p l a n t s , c r e a tin g t w i s t e d s e l v e s w h i c h n e v e r t h e le s s c o n tin u e t o g r o w . I e x p l o r e d f o r m a l p o s s ib ilit ie s to
(Study for The Rope That Binds Us)
create dialogues: between ropes and o b j e c t s t h e y b i n d a n d m a n i p u l a te ; b e tw e e n 2D and 3D; and between dominance and s u b m i s s i v e n e s s . A l l u d i n g t o i n t e r n a l o r g a n ic structure, the sculpture is made from painted plaster casts taken from vegetables and my own body, rope, and wood. M y e m o t i o n a l r e s p o n s e i s k e y t o s h a p in g m y w o r k , w h i c h h a s a n i n n a t e , p o l i tic a l u n d e r b e l l y , f o r m e d t h r o u g h p o e t ic , p h i l o s o p h i c a l o r s p i r i t u a l m e a n s . I w o r k in s e v e r a l d i s c i p l i n e s i n c l u d i n g s c u lp t u r e , f ilm , p h o t o g r a p h y , p a i n t i n g a n d c r e a tiv e w r itin g .
(One of the casting processes for The Rope That Binds Us)
I h a v e j u s t g r a d u a t e d f r o m a n H N D in A r ts P r a c t i c e a t B e d f o r d C o l l e g e a n d I w ill b e c o n t i n u i n g m y s t u d i e s t h i s S e p te m b e r a s I g o i n t o t h e s e c o n d y e a r o f t h e B A F in e A r t c o u r s e a t F a l m o u t h U n i v e r s i t y in C o r n w a ll. I r e c e n t l y c h a i r e d a n d e x h i b i t e d in A r t a n d Sustainability: Does The Societal Benefit Of Creating Art Account For Its Materialistic Impact? exhibition, which was held at The Basement at The Bunyan 01 Center, in Bedford.
(Me in my workspace standing next to another piece of my work ‘Body ARTREVIEW | ISSUE 23 Language’)
BEDFORD GIRLS' SCHOOL
FELICITY DE VRIES (NEÉ ANDREW) (BHS, 1979)
Zebras at a waterhole These Zebra were part of a larger herd quietly sharing the cool water at the waterhole in Namibia. Seconds after the photo, which inspired this print was taken three hyenas, which had been stealthily creeping up, charged in scattering the ever-alert zebra. The image is a 2 block multilayered linocut print thirty x thirty cm, one of an edition of six. I’m passionate about the conservation of endangered species and my work takes me to habitats worldwide. I record images with a camera and with sketchbooks to record colour. Back in my studio I use the photos as reference while creating a coloured drawing on which I work out how the final image will look. Once I’m happy with the image I trace the image and transfer it onto a lino block. This image uses two blocks. Lino printing is done in reverse order, dark to light. The first layer of printing in this image is the background ; ink is loosely rolled onto the block from which the zebras outline had been cut out so that when the ink transfers in the press on to paper the paper retains a white zebra shaped space in the middle. I also use paper masks to protect one area of printing from another. I then cut and print the water layers – in this print there are five different shades. After each shade more lino is cut away before the next ink layer is applied. I work out the colours and make a swatch so I can check how they balance with each other. I also check how of layer will look on the final piece by printing it onto acetate which I can lay over the print to see if I like the colour but also to check that everything which needs cutting away has been cut. The final layer is the Zebra. Registration of the layers is key to the success of a print with many layers. The prints are made using an 1837 Albion printing press which is a piece of engineering beauty producing smooth even pressure on the inked tiles.
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BEDFORD GIRLS' SCHOOL
FIONA WILSON (DAHS, 1997)
The Artist Fiona Wilson is a Bedfordshire-based artist working in mixed media. Described as Figurative-Extraction her art blends reality towards expression. It touches truths and ideas about time, space, feelings, thoughts and memory and its abstracted language of colour, line, texture, gestural mark-making and dynamic shape gives reference to the real world. 'I can only describe it as live performance on paper” Estelle Lovatt FRSA Artwork Submitted: 'Soulmates'. Mixed media on paper, float framed 80 x 60cm. On show by kind permission of Mr & Mrs Woods. Contact Details: fiona@fionawilsonart.com / 07789 896077 / Instagram: @f_wils / Facebook @fionawilsonart / fionawilsonart.com
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OTHER PIECES OF WORK:
BEDFORD GIRLS' SCHOOL
GEORGINANICOLE ELIA (BHS, 2015) Following school Georgina-Nicole completed her Art Foundation at Bedford College and is currently studying to be a Dietician. This is Georgina-Nicole’s unfinished portrait (due to a recent operation) of Queen Elizabeth II smiling, in celebration of her Platinum Jubilee.
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ARTREVIEW | ISSUE 23
BEDFORD GIRLS' SCHOOL
HANNAH BEAZLEY HANNAH-BEAZLEY.COM (BGS, 2015) A f t e r m y t i m e a t B e d f o r d G i r l s ’ S c h o o l, I w e n t o n t o s t u d y F i n e A r t a t B ir m in g h a m City University before moving to Canada t o p u r s u e a c a r e e r i n M a r k e t i n g . O u t s id e o f m y 9 - 5 , I c o n t i n u e t o t a k e o n g r a p h ic d e s i g n / i l l u s t r a t i o n c o m m i s s i o n s a n d s e ll p r i n t a b l e g r e e t i n g s c a r d s a n d c u s to m illustrations via my Etsy shop OhAloeThere. When I was asked to design the 2021 C h r i s t m a s C a r d f o r B e d f o r d G i r ls ’ S c h o o l, I k n e w I w a n t e d t o c r e a t e s o m e th in g th a t reflected the many different pathways and opportunities each student at BGS i s o f f e r e d - w h i l e a l s o b e i n g f e s tiv e ! T h e f i n a l p i e c e e n c o m p a s s e s t h e v a r io u s s u b j e c t s , s p o r t s , a n d e x t r a - c u r r ic u la r activities that makeup life at Bedford Girls’ School. With the eagle as the tree t o p p e r a n d t h e d i s t i n c t i v e J u n io r a n d S e n i o r S c h o o l c o l o u r s u s e d t h r o u g h o u t, I h o p e i t ’ s a f i t t i n g t r i b u t e t o b o th t h e place and the people at the heart of BGS. W e b s i t e : (h t t p s : / / w w w . h a n n a h b e a z l e y . c o m /) . Etsy: (h t t p s : / / w w w . e t s y . c o m / s h o p / O h A lo e T h e r e ? r e f = s e a r c h _ s h o p _ r e d i r e c t)
BEDFORD GIRLS' SCHOOL
HANNAH CARVELL (NÉE MUNNS) (BHS, 1999) Daisy Print, inspired by Spring dog walks and my daughter, Matilda, who loves to stop and make daisy chains wherever she can. A happy and hopeful print, made using hand cut paper stensils that are then screen printed in over lapping layrs onto recycled paper. Hannah is a Screen Printer working from her converted print studio in the heart of Bedford. Hannah sells work via her website www.hannahcarvell.com as well as with Art Galleries and shops nationwide. Hannah studied at Bedford High School, followed by a Fine Art painting degree at Kingston University; she is now back in Bedford where her daughter has just started her journey at Bedford Girls’ School in Year 3. Hannah’s work is always playful with a focus on bright colours and often nature and animals. Daisy print was framed by Gemma 0Crawley-Roberts 1 (BHS 1998)’.
Other work:
BEDFORD GIRLS' SCHOOL
HEATHER MEAD (NÉE BROWN) (BHS, 1992) A f t e r i n i t i a l l y s t u d y i n g A r t a n d D e s ig n a t th e C h e l s e a C o l l e g e o f A r t a n d D e s ig n , a n d F a s h io n P r o m o t i o n a t R a v e n s b o u r n e C o lle g e o f D e s ig n a n d C o m m u n i c a t i o n i n 2 0 0 1 , i t w a s a lm o s t 2 0 y e a r s b e f o r e I a c t u a l l y s t a r t e d d r a w i n g p r o f e s s io n a lly . I n 2 0 1 9 , I d e c i d e d t o d r a w p e t p o r tr a its w o r k in g f r o m p h o t o g r a p h s . I u s e F a b e r C a s te ll p e n c il p a s t e l s f o r t h e f i n e d e t a i l a n d U n is o n p a s te ls to c r e a t e t h e d e p t h o f c o l o u r n e e d e d to b r in g a p o r t r a i t t o l i f e . T h e p a p e r i s P a s t e lm a t, w h ic h a b s o r b s t h e p a s t e l b e a u t i f u l l y a n d e n h a n c e s th e colours. I s p e c i a l i s e i n r e a l i s m s o i t ’ s i m p o r t a n t to c a p tu r e e v e r y s m a l l d e t a i l i n o r d e r t o m a k e b e lo v e d p e ts a p p e a r a s ‘ l i f e l i k e ’ a s p o s s i b l e . I w o r k v e r y c lo s e ly on small areas copying exactly what I see. Every t i n y h a i r a n d s m a l l m a r k o n a n o s e is r e c r e a te d . Polo was quite challenging as he has so many b e a u t i f u l c u r l s . T h e t a s k w a s t o e f f e c tiv e ly r e c r e a t e t h e l i g h t a n d s h a d e i n b e tw e e n a ll h is c u r l y f u r w h i c h i s f a l l i n g i n a l l d ir e c t io n s . T h e lig h t a l s o b r i n g s o u t s o m a n y c o l o u r s w ith in th e f u r , p a r t i c u l a r l y b l u e s a n d p u r p l e s , w h ic h a r e s o commonly used in grey and black fur. I have had to pleasure of drawing hundreds of pet portraits over the last three years. There have b e e n m a n y p e t s , f r o m d o g s a n d c a t s , to h o r s e s , c h i c k e n s a n d p i g s . E v e n a h a m s te r ! M y w o r k is showcased primarily on Instagram, heathermead_artwork.
BEDFORD GIRLS' SCHOOL
JOANNA GRIFFITHS (DAHS, 1978) Piece name: Granny and Gramps' Flowers Materials used: Acrylic Paint on paper Date completed: September 2020 Joanna Griffiths finished her education at BGS in 2016 and pursued her passion for Art through a Foundation Diploma and BA Fine Art Degree at Oxford Brookes University, resulting in First Class Honours. The artist often explores nostalgia, memories and objects of sentimental value in her work, which can be seen here in her still life painting that depicts flowers owned by her late grandparents. She likes to use primary colours within her pieces to add vibrancy and fun to her artwork. Natural light floods through the windows and casts contrasting shadows behind the flowers which creates a warm, inviting atmosphere. For the artist, this piece evokes many fond memories of her grandparents and their welcoming home. Joanna is now based in Newcastle upon Tyne (where her grandparents lived) and has just completed her PGCE training to become an Art Teacher. She hopes to instil students with an enthusiasm for her subject and looks forward to continuing her paintings in her spare time. 01
ARTREVIEW | ISSUE 23
BEDFORD GIRLS' SCHOOL
LINDSAY EDWARDS (NÉE MASSIE)
(DAHS, 2001) L i n d s a y E d w a r d s i s a n a w a r d w in n in g P e r s o n a l S t y l i s t b a s e d i n B e d f o r d s h ir e . She frequently works with women who n e e d t o p r o j e c t a s p e c i f i c i m a g e th r o u g h the clothes that they wear, such as a c t r e s s e s , t v p r e s e n t e r s a n d p o litic ia n s . However, she also styles many women outside of the limelight who seek her h e l p i n r e s t o r i n g t h e i r s e l f - c o n f id e n c e , t h r o u g h t h e d i s c o v e r y o f t h e c o lo u r a n d style of clothes that truly suit them. Lindsay is regularly called on for expert comment within the press and has been featured in Harpers Bazaar, The T e l e g r a p h , G o o d H o u s e k e e p i n g m a g a z in e (amongst others), and spoken on BBC Radio. A l t h o u g h t h e w o r l d o f f a s h i o n is o f t e n r e g a r d e d a s a n e x c i t i n g o n e , i t is important to acknowledge, and work t o g e t h e r t o r e d u c e , t h e d e t r i m e n ta l impact the industry has upon the environment. Did you know?
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150 billion garments are produced each year On average, a garment is only worn 47 times before being thrown away 87% of textiles worldwide are incinerated or landfilled
L i n d s a y , w h o g a i n e d a c e r t i f i c a tio n in f a s h i o n s u s t a i n a b i l i t y a t T h e L o n d o n C o lle g e o f S t y l e , i s p a s s i o n a t e a b o u t p r o m o t in g t h e ways in which women can create a s u s t a i n a b l e w a r d r o b e w i t h o u t c o m p r o m is in g o n s t y l e . S h e s u g g e s t s c o u n t e r a c t in g t h e p r e v i o u s b u l l e t p o i n t s i n t h e f o llo w in g w a y s : A v o i d b e i n g s w a y e d b y f a s t f a s h io n trends that quickly become dated. Instead, choose clothes that you genuinely love, that really suit you, and ‘ g o w i t h ’ o t h e r i t e m s a l r e a d y w ith in y o u r wardrobe. Have fun finding new ways to wear your c l o t h e s . I n s t e a d o f a l w a y s s t i c k in g t o y o u r u s u a l o u t f i t c o m b i n a t i o n s , p la y around and pair items together that y o u ’ v e n o t w o r n t o g e t h e r b e f o r e . Y o u ’ll get that ‘new outfit feel’, for free! G i v e a n y u n w a n t e d i t e m s o f c l o t h in g a new lease of life by passing them on to a f r i e n d w h o y o u k n o w w i l l l o v e th e m perhaps, in return, they’ll swap them for items that they no longer wear! Alternatively you could donate them to your local charity shop.
T o h i g h l i g h t t h e n e e d t o f i g h t b a c k a g a in s t f a s t f a s h i o n , L i n d s a y h a s a l t e r e d a p r e lo v e d e v e n in g dress for our exhibition. L i n d s a y a d d e d a C a c h e t t o p a b o v e th e b o d ic e , w h i c h s h e p u r c h a s e d f r o m a l o c a l c h a r it y s h o p f o r £ 9 . 9 5 - c l e a r l y u n w o r n , i t s t i l l h a d its o r ig in a l Macy’s $109.00 price tag attached. S h e u s e d b l a c k a n d g o l d f a b r i c s p r a y s t o a lt e r t h e colour of the taffeta skirt. T h e n , L i n d s a y a p p l i e d p a t c h e s o f f a b r ic f r o m c l o t h i n g o t h e r w i s e d e s t i n e d f o r la n d f ill. Y o u ’ l l s e e p a t c h w o r k c l o t h i n g a ll o v e r t h e s h o p s a t t h e m o m e n t a s i s o n e o f t h e b i g g e s t tr e n d s f o r 2 0 2 2 . H o w e v e r , i t i s s o m e w h a t ir o n ic to s e e it f e a t u r i n g a s a f a s t f a s h i o n f a d b e c a u s e its h is t o r y a c t u a l l y r e p r e s e n t s s l o w f a s h i o n a t its f in e s t . H i s t o r i c a l l y , p a t c h w o r k w a s o f te n a h o m e b a s e d c r a f t c r e a t e d a s a w a y t o e x t e n d th e lif e o f a n i t e m o f c l o t h i n g . A s g e n e r a l w e a r a n d te a r b e g a n t o t a k e i t s t o l l o n c l o t h i n g , p a t c h e s o f f a b r ic w e r e s e w n o n t o p o f w e a k e r a r e a s o f th e g a r m e n t a s reinforcement.
Think.. H a v e y o u e v e r w o r n a n i t e m s o f r e q u e n t ly t h a t w e a r a n d t e a r appeared? W o u l d y o u m e n d a n i t e m o f c l o th in g t o e x t e n d its u s e ? C o u l d y o u a l t e r a n y i t e m s o f c l o th in g t o g iv e t h e m a n e w le a s e o f life? L i n d s a y ’ s i n t e n t i o n f o r t h i s p i e c e is t o in s p ir e a c r e a tiv e , t h o u g h t fu l a n d s u s t a i n a b l e a p p r o a c h t o f a s h io n . M a n y o f t h e t r e n d s w h ich fi l t e r d o w n f r o m t h e c a t w a l k o n t o o u r H ig h S tr e e ts c a n o f t e n b e r e c r e ate d f r o m t h e i t e m s a l r e a d y i n s i d e o u r w a r d r o b e s o r f o u n d w it h in l o c al c h a r i t y s h o p s . I t i s p o s s i b l e t o b u y le s s , w e a r m o r e .. a n d lo o k s tyl i s h . A l l e x c e s s m a t e r i a l f r o m t h i s p r o je c t w a s d o n a t e d t o B e d f o r d W o m e n ’ s C e n t r e ( B G S ’ s c h o s e n c h a r ity f o r 2 0 2 2 ) w h o w ill e x t e n d i ts u s e w i t h i n t h e s e w i n g l e s s o n s th e y p r o v id e f o r t h e ir s e r v ic e u s e r s .
BEDFORD GIRLS' SCHOOL
LISA PARRISH (BHS 1985) Theo, sleeping Medium: Oil. Date: 2020. This is a portrait of my son aged 14. I wanted to capture him while still in the innocence of childhood. At school, art was my focus, followed by art school in London. After a 20 year career in Film & TV, I went back to drawing and painting and portraiture five years ago when I founded www.yardleyarts.org, an art centre in the village where I live. I work mainly in charcoal and oil and my subjects tend to be family and friends. Instagram: pollyparrish
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ARTREVIEW | ISSUE 23
BEDFORD GIRLS' SCHOOL
SALLY CHARLTON (DAHS, 1978)
Portuguese Shell This silk chiffon fabric is printed with a design of a shell in turquoise and green. It is handstitched with a contrasting thread onto a plain cotton canvas square. My years at Dame Alice in the Art Department led me to a Foundation Art course, a year studying Fashion at Cheltenham then changing to Fashion/ Textiles Design in Liverpool Art College, now John Moores University. I studied Constructed Textiles and Knitwear Design from 1980 to 83. Later, I completed my PGCE in Leicester and have been teaching art and design since 1988. I am an assessor for IB Visual Arts and have experience with OCR and CIE Art examinations. 01
ARTREVIEW | ISSUE 23
BEDFORD GIRLS' SCHOOL
SHUNA MITCHELL (BHS, 1978) Following school Shuna completed the Cambridge College of Arts & Technical (CCAT) Foundation Course, then studied for her Fine Art Degree at The Slade School of Art. She is a member of The Chelsea Arts Club. She started her career working for an interior designer, then as PA to the MD of 'Apollo - The International Art Magazine', followed by PR/Admin in the drinks industry for a global Japanese company, which also involved a few international art projects alongside proof reading/speech writing/copy for beverage labels & building professional global relationships for the company. Shuna has never stopped creating art; how to express one's self. She nearly always carries a sketchpad. Shuna has provided three different styles of work: A sketch of Bob Marley’s grand-daughter singing with a Jazz group at a charity event near Chichester. Shuna was struck by her appearance aka her Grandfather plus musical talent to sketch her there and then using the only resource she had – a cheque slip & pencil. ‘Meryl Rules The Waves’ (p. 108). Collage produced by Shuna for The Chelsea Arts Club, The Body Clothed in Art Exhibition (2012) – A silent auction of over 100 canvases of original artwork by Club Member Artists as well as some famous fashion designer items all art works donated in aid of the Chelsea Arts Club Trust and the AGBI. The piece is inspired by the actress Meryl Streep - her portrayal of Margaret Thatcher in the film, The Iron Lady, amidst the political landscape of this era. Oil on board sketches Skipness, Kintyre, Scotland, ‘To the castle’ and ‘Horses beside the castle’. These pay tribute to Shuna’s Scottish heritage and love of this beautiful peninsular of Western Scotland on simple boards with ribbon to hang two wee pieces. 01
BEDFORD GIRLS' SCHOOL
SIMI GODAGAMA (DAHS, 1997) S e l f t a u g h t a r t i s t S i m i G o d a g a m a s t a r te d p a i n t i n g w h e n s h e w a s a c h i l d a s a c o p in g m e c h a n i s m f o r t r a u m a b y l e a n i n g in to a r t i s t i c e x p r e s s i o n a s a t h e r a p e u tic i n t e r v e n t i o n , w h i c h c h i l d r e n n a t u r a lly g r a v i t a t e t o w a r d s . H e r w o r k u s e s n a tu r e and animals to portray the power of human experience, provoking the o b s e r v e r t o i n q u i r e d e e p e r i n t o t h e ir o w n . S i m i 's a r t g e n t l y i n v i t e s a s t a t e o f m i n d f u l n e s s a n d s e l f d i s c o v e r y th r o u g h loose minimalistic style.
I t a l w a y s b e g i n s w i t h h e a l i n g , tr a n s c e n d in g through trauma- the power of our human c o n d i t i o n a n d e x p e r i e n c e t r a n s p o s e d w ith p i g m e n t a n d p a p e r . A s a p r a c t i c in g B u d d h is t , I a m a l s o c u r i o u s a b o u t t h e d e l ic a te s p a c e s o v e r l a p p i n g a l l l i v i n g b e i n g s , w h e r e o n e ’s “ h u m a n ” s t r e n g t h s a n d v u l n e r a b ilit ie s c a n b e e x p r e s s e d a n d s e e n r e g a r d l e s s o f s p e c ie s o r s p a c e ." Simi’s journey to discovering art began as a s t u d e n t a t t h e s c h o o l . H e r s c u lp tu r e s w e r e often displayed in the reception entrance
Simi studied Osteopathic, Chinese and A y u r v e d i c M e d i c i n e . S h e r u n s a p r iv a t e p r a c t i c e i n H a r l e y S t r e e t a n d i s th e d i r e c t o r o f T h e L i t t l e B u c k i n g h a m C lin ic , M a r k e t S q u a r e . I n 2 0 2 0 S i m i s u c c e s s f u lly p u b l i s h e d h e r f i r s t c h i l d r e n b o o k S u lly ’s G l o w . S i m i i s a l s o a l e c t u r e r a t th e B r itis h Institute of Marmapuncture and a board d i r e c t o r o f t h e B r i t i s h A y u r v e d ic M e d ic a l Council. “Healing has and always will be the f o u n d a t i o n o f m y l i f e . T h e a r t o f h e a lin g i s s y n o n y m o u s t o m y w o r k - b e th a t a s a artist, poet, author or medical p r a c t i t i o n e r . T h e y a r e a l l i n s e p a r a b le . Many of my various creations have e m e r g e d t h r o u g h t h e i m p a c t o f in tim a te a n d s a c r e d w o r d s s p o k e n w i t h in m y c lin ic 0 r o1 o m .
a n d w h i l e s h e n e v e r f o r m a l l y s tu d ie d a r t a s a s u b j e c t , t h e w o r d s o f e n c o u r a g e m e n t g iv e n b y h e r a r t t e a c h e r w h o r e c o g n is e d h e r a f f i n i t y a n d j o y f o r a r t h a s b e e n in s t r u m e n t a l i n h e r b r i n g i n g h e r w o r k o u t i n t o th e p u b lic domain. S i m i G o d a g a m a A r t i s o n F B a n d In s t a g r a m a n d h e r s a l e s g o t o w a r d s a n o n p r o f it s h e s t a r t e d i n 2 0 1 6 s u p p o r t i n g a n d s a f e g u a r d in g c h i l d r e n t h r o u g h p r o t e c t i v e b e h a v io u r s . www.rurifoundation.org
ARTREVIEW | ISSUE 23
BETWEEN HEAVEN & EARTH A f t e r a f i r e h a s b u r n e d w i t h r a g e , p a s s io n o r j o y , t h e s m a l l e m b e r s f l o a t u p l ik e d u s t in t h e w i n d a n d g a t h e r . T h e y g e n t l y f a ll to t h e g r o u n d a n d c r e a t e t h e E a r t h b e n e a t h o u r f e e t. T h e s e r e s i d u e s o f s m a l l g l o w i n g e m b e r s r e m in d u s t h a t a f i r e w a s o n c e l i t , a n d c a n b e ig n ite d a g a i n . S i m i l a r t o t h i s w e o f t e n c o lle c t e m b e r s that glow quietly within us. Find where they g a t h e r a n d l i g h t a m a t c h t o N o u r is h y o u r destiny.
The Earth is the central source of n o u r i s h m e n t a n d n u r t u r i n g . T h e s t r e n g th o f w h i c h w i t h i n o u r s e l v e s a n d o u t s id e governs our destiny. Nourishing our d e s t i n y t h r o u g h t h e e a r t h l y r e a lm s in o u r physical body as well as the external g r o u n d u p o n w h i c h w e w a l k i s v ita l f o r fulfilment.
W a t e r i s a m y s t e r y . T h e l i f e g i v e r a n d t a k e r a ll in one. It’s will power is silent and u n f a t h o m a b l e a n d s o i s y o u r s . S im i is a s u r v i v o r o f t h e 2 0 0 4 A s i a n T s u n a m i.
S u n r i s e o r s u n s e t , l a n d o r s e a , e it h e r w a y w e a r e i n a c o n s t a n t s t a t e o f s e p a r a tio n a n d return from the source and one another.