."Encountering beauty in wild, open spaces, where the vast sky stretches to the horizon, has given me sanctuary and peace in stormy seasons. In beautiful places I have found hope again."
Laura will open her exhibition as part of Late Shows with live painting in the gallery
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Showcasing paintings from folk artist Barbara Peirson, our current headling exhibiting artist Marissa Weatherhead, ethereal landscape paintings by Deborah Grice and the irreverent and witty etchings from Kate Boxer.
In our Must Haves you can also find jewellery from Laila Smith and Anna Wales alongside handmade homewares, paintings and sculptures from Emily Doran, Fletcher Prentice, Morag Reekie, Christie Keeney. and more
Why not celebrate with time spent enjoying a delicious Afternoon Tea in The Factory Kitchen, or choose one of our artist-led workshops for a creative day together!
£6.95 (In-Gallery Only)
£12.95 (In-Gallery Only)
£3.50 (In-Gallery Only)
If you're looking to gift something you can enjoy together check out our 2024 Workshops Programme below where we have workshops coming soon which are perfect for sharing with others; have a go at Spring Wreath Making, Jesmonite Casting or get stuck in and learn how to throw your own Ceramic Vase!
...or why not book a table for our Mothers Day Afternoon Tea on 10 March with the chance to be entered into our Gallery Giveaway
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Opening on the 3 February is our new headline exhibition 'A Table by the Sea'. Set to unveil a collection of original still life paintings by Marissa Weatherhead which explores the notion of 'the table' as a performative space and a vessel for memory.
Marissa holds an MA from the Royal College of Art in London, alongside a first class BA in Fine Art from Gloucestershire College of Art and Design. Marissa has exhibited internationally including the Vennice Biennale, she was awarded the John Minton Award and has a commissioned piece hanging in the Guildhall at Londons' Barbican which is held in the Arthur Anderson Collection.
The theme and title for Marissa's upcoming show was heavily inspired by a residency she took part in which took her to the Spanish Coast. Her time by the coast heavily inspired her practice. Each painting is filled with vibrant and expressive coastal motifs and in situ drawings of shells, boats, harbours and interiors. 'The Table' in her paintings becomes a tool for her and us to connect with memory and place. We asked Marissa about her life as an artist and delved deeper into the theme which run through her practice.
The table started out as a compositional surface and over time became more dominant in its presence as a ‘stage’, a set or theatre that holds the objects in a moment of drama and like a photograph needs to finds its composition and centre to make the characters work. The objects are chosen for their sense of association that can take us beyond the mere moment of looking.
I connect with the idea that a group of objects come together on a table top in the same way actors assemble on a stage. They all have a part to play and interact with each other.
The sea has played a large part in this series on different levels, the seaside has that association of pleasurable moments, the sparkling water, the salty breeze sailing boats, lapping water. They are all associations of good times, and we can all relate to a bit of indulgence by the seaside. “The sea! The sea! The open sea! The blue the fresh, the ever free!” Bryan Procter.
My paintings have no set pattern or formula to follow and I never set up a composition to work from. The images that evolve are realised through memory, as a result paintings start in different ways with a line, shape or coloured background ,they evolve though their own sense of participation without a preconceived outcome Picasso stated “I paint objects as i think them not as see them“ to a certain extent this is true of my own approach
Sketches are important to get to know an image and to free up mark making. I rarely start from a sketch once I start a series of works because one image leads to another like variations on a memory they change and shift each referencing the past but finding its own voice. I love pushing a painting “beyond a moment “ in this instant some paintings undergo immense change as they develop and this is seen in the build up and layering of paint.
My studio is always busy, chaotic, messy even! The further I get into a body of work the more paintings in varying states of progress surround me, perched on any given surface. Tidying up always seems to break the creative thread so it is the one place I like being that isn’t tidy!
There are no rules to painting!
My table would have to be beside the sea and I would definitely like to have it laden with dishes created for this exhibition by The Biscuit Factory Kitchen, all washed down with a glass or two of wine!
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Mushroom Sculpt is an exciting project using an emerging eco-material made from fungus, using waste products like straw and paper to make “mycelial blocks”.
Mushroom Sculpt will take scrap cardboard - donated by The Bound - and use it to build a pop-up bookshop inside The Biscuit Factory for the Late Shows. A bookshop grown from bookshop waste!
Join us for a series of workshops throughout February and March where you will help us to create the bricks that will build the installation. You'll learn all about the material, mix and mould it yourself and even take some home to create your own sculptures!
Find out more about Mushroom Sculpt Workshops here
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'Tranquil Echoes' - a solo-exhibition by artist Dudley Edwards - showcases a collection that has evolved and transformed over decades, reflecting the artist’s’ unwavering dedication to his craft.
Hailing from West Yorkshire, Dudley graduated from art school in Bradford and started a career in the 1960s that intertwined with the popular culture of the day. From music to film to fashion his bright and bold murals, created alongside fellow artist Doug Binder, were synonymous with the 'Swinging Sixties' scene in London.
His own interests and artistic inspiration, though, lie with the artists of the 1900s, particularly those embedded in the Parisian art scene of the early-mid century. Dudley considers these artists to be at the pinnacle of their craft, and their work has strongly influenced his approach, processes and creativity; which has become the focus of his contemporary work, and this collection.
We mark the launch of Dudley's exhibition with an informal conversation with the artist, whose life and experience is filled with fascinating stories and anecdotes. Join us to hear how a boy from Bradford befriended The Beatles: Friday 27 October 7pm - click the link below to get your tickets, then read on to find out more about Dudley!
Dudley Edwards soared into the limelight in 1965, emerging as a prominent figure in the heart of ‘Swinging Sixties’ London. He swiftly solidified his legendary status as one of the co-founders of a groundbreaking pop art collective alongside Douglas Binder. This collective was a dynamic fusion of artistic talents which led to the creation of Sir Paul McCartney’s Iconic ‘Magic Piano’ among other iconic commissions of the time. From painted cars to fashion boutique murals; Dudley Edwards, along with his peers, was not merely a witness to the artistic revolution of the 1960s; he was an active participant, shaping the course of Pop Art history and in the process creating ‘the look’ of that era.
“Dudley Edwards [is an] undisputed star of the London rock scene. The great John Lennon spent many hours at the home of Paul McCartney, sitting admiring the murals painted by Dudley Edwards.” Il Fatto Quotidiano Newspaper, Italy
Dudley’s artistic career extended beyond mural-painting as he experimented and explored other endeavours including light shows, and in the mid ‘90s joined his partner Madeline to produce bespoke textiles favoured by architects and designers across the world. All the while Dudley's passion to focus on his own fine art practice in painting and drawing lingered. Inspired by the luminaries of the early 1900's Parisian Art Scene including figures such as Mattisse, Picasso, Bonnard, Degas, Monet, Cezanne, Seurat and Mogdiliani, Dudley began exploring several themes within his artwork but all informed by the sense of trying to deal with ‘the human condition’.
"I like my imagery to work by implication, by suggestion, by hinting, to ‘imbue’. I wish to portray the human condition and seemingly simple, intimate, domestic life, like Vermeer, Degas and Bonnard, or possibly with just a hint of mystery like Hopper and Hammershoi. It only requires an almost imperceptible shift for the ordinary and mundane to become magical. I like the things that are slightly out of kilter as in a film by Tarkovsky. For me painting reached its zenith at the early part of the twentieth Century in Paris, in order to move forward, we must be willing to go back."
This collection encompasses an array of visual styles; from the bold and dramatic to the subtle and nuanced; to make a grand statement or create an understated focal point. It's an invitation to engage with art in a way that speaks to one's individual preferences and the unique character of the space it inhabits; allowing you to make your surroundings your own, find art that empowers you, and create an environment that resonates with your style.
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Join us for a weekend of Christmas cheer at The Biscuit Factory; with gift inspiration galore, live seasonal music, festive food and lots more. Our weekend kicks off with The Winter Social, our most popular seasonal event, then continues throughout the weekend as we celebrate Ouseburn Open Studios...
Rob van Hoek opens his exhibition 'Quiet Places' at our Winter Social
Friday 24 November | 6 - 9pm
Our most popular seasonal event returns! Join us for a unique Christmas shopping event with handmade and original work from over 200 makers and artists.
Including:
In The Factory Kitchen enjoy our Northumbrian-inspired Supper Club. Using the very finest local ingredients our chefs craft a four course menu of crowd-pleasing seasonal British dishes with accompanying beverages. (Pre booking essential for Supper Club)
Saturday 25 & Sunday 26 November | 10am - 5pm
Our Festive celebrations continue throughout the weekend, with studio artists throwing open their doors to the public. You'll find:
Visit The Factory Kitchen this Winter for their delicious seasonal take on Afternoon Tea.
From 4 November 2023 - 7 January 2024, enjoy a rustic afternoon tea with a festive twist. Featuring seasonal savoury and sweet dishes and surrounded by contemporary artwork and panoramic views of the Ouseburn.
Looking for something a little lighter? Why not try their limited edition Hot Chocolate menu for an indulgent, warming treat during your visit.
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As an established ceramicist, Emma exhibits her work internationally and most recently exhibited at the Great Northern Contemporary Craft Fair in 2023.
Through observing patterns on interior surfaces in public spaces and the geometric prints and patterns she found on her Grandfather's clothing and parents' glassware, she developed an interest and nostalgia for the design aesthetic she grew up around.
Emma's skillful manipulation of methods is a deliberate choice, one that directs focus to the nuanced surfaces of her vessels, vases, and homeware.
The layering and interchanging of moulds grant her the power to craft singular, distinct artifacts that pay homage to the principles of modernist design.
Emma invites us to partake in her visual dialogue, where the journey from kiln to table becomes a celebration of creative ingenuity and an exploration of the enduring conversation between art and material.
Visit the gallery to experience Emma's masterpieces first hand or browse a curated selection of Emma's beautifully crafted creations below.
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Introducing 'Closer Still': A Solo Exhibition with accomplished textile artist Valérie Wartelle. The first large scale solo show of textile works ever to be shown in the Cube Gallery The Biscuit Factory.
Opening on the 2 September, 'Closer Still' unveils a collection of felted artworks. The exhibition's opening will offer a unique chance to engage with Valérie herself, as she conducts live demonstrations of traditional felting techniques within the gallery. Mark your calendars and immerse yourself in the world of textile artistry as 'Closer Still' transports you into Valérie Wartelle's remarkable artistic realm.
The heart of Valérie's practice lies in the art of process. She aptly explains, "Deep understanding of materials and the mechanics of a craft create an intuitive space during creation. This isn't just a thought process; it's also a sensory language that I constantly strive to explore. My work is essentially a reflection of the ongoing sensory dialogue between process, material, and myself."
Valérie's expertise shines through, with an acute understanding of how to manipulate materials and scale to achieve stunning results.
The portfolio presented here distinctly emanates an air of refinement and tranquillity, enriching diverse living and working spaces. This curated collection comprises an array of framed artworks, encompassing a range of sizes.
This collection is well suited to create cohesive gallery walls, to enhance open spaces and create focal points by seamlessly integrating larger works; or to subtley enhance more intimate and compact spaces with with smaller works that shape the surrounding ambiance.
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Cover image: Seventh Wave by Neil Bousfield
Established in 2010, the biennial competition and subsequent exhibition focuses on the exceptional talent of northern-born, -trained, or -based artists; from those who are well known names among the art-loving public, to those who are taking early steps in their careers and emerging into the art world.
We'll be talking more about the exhibition and some of the exhibitors closer to the Exhibition launch - many of whom you may recognise - but we thought we'd get started with an introduction first!
New Light Prize exhibition officially opened on 4 June 2021 and exhibited at The Biscuit Factory until 29 August before moving on to Tullie House, Carlisle and then to Bankside Gallery, London - home of the Royal Watercolour Society and Royal Society of Painter Printmakers.
129 individual works featured from around 100 artists (some artists have multiple pieces in the exhibition), comprising painting, drawing, print and sculpture.
Image: Seen by Linnet Rubaya (winner of the Saul Hay Emerging Artists Prize)
Image: Across Borge Bay by Ian Brooks (winner of the Zillah Bell Printmaker's Prize
Five prize winners were selected from 2020's collections:
Joanna Whittle - Valeria Sykes Award
Victor Harris - Patron's Choice Award
Linnet Rubaya - Saul Hay Emerging Artists Prize
Ian Brooks - Zillah Bell Printmaker's Prize
Christian Alexander Bailey - New LIght Purchase Prize
Visitors to the exhibition at The Biscuit Factory also voted for the winner of the TIG Visitor's Choice Award.
2024 will see the introduction of a special Sculpture prize, with entries exclusively exhibited at The Biscuit Factory.
All artwork in the exhibition will be for sale, and the New Light Prize Exhibition is a great collection from which to source your next piece of art.
New Light also involves the Art for All initiative - an education programme which includes talks, workshops and school projects, and the New Light Collection which aims to make the best in Northern visual arts available to more people by loaning pieces from the collection, free of charge, to public bodies and charities.
Image: Tree Sparrow by Christian Alexander Bailey (winner of the New Light Purchase Prize)
Image: Sorrowing Cloth by Joanna Whittle (winner of the Valeria Sykes Award)
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Social, informal and a chance to gather with friends and family, Sunday Sessions introduce design-led crafting techniques in the comfort of our contemporary light-filled Work Room. You'll be greeted with a drink, soft music will play and you'll spend a gentle few hours relaxing and learning something new, taking away work to cherish, or gift.
As always with our Creative Workshop programme, participants will enjoy 10% off in The Factory Kitchen to enjoy before or after their session.
Batik is an Indonesian technique of drawing wax onto fabric.
In this workshop you will create surface designs by applying wax on to fabric. The wax creates a resist and then dyes are applied to add colour. When the wax is removed it leaves behind beautiful silhouette designs.
You will be shown basic batik methods in this workshop with templates provided to inspire and draw from. Your unique surface design can then be presented at home as a framed work, a hanging or perhaps the fabric can be the basis of another project such as a cushion cover, lampshade or book bind.
Cyanotype is an antique photographic printing process producing a Prussian blue monochromatic print.
In this workshop you will select from a range of flora and fauna, placing pieces onto the fabric in a surface composition that when exposed will leave behind a negative of the design.
Whilst the print is developing you'll learn some basic hand embroidery techniques and plan how you may apply these decorative stitches to your fabric design to embellish your print.
Your work will be completed by being framed in a hoop and ready to hang at home or to offer as a gift.
Using air dry clay, create festive hanging decorations and personalised gift tags.
There will be a range of shapes and textures to construct and apply so you can create a selection of designs that suit your personal style or theming for the festive season ahead or create unique and personalised gift tags to complete your seasonal giftwrapping.
These pieces do not require glazing or firing so they can be taken home on the day. You will be given enough clay to make around 15 decorations and/or gift tags.
Celebrate a variety of occasions with good friends and a gathering with a difference, with a bespoke private party.
Birthdays, pre-wedding 'dos', baby showers, or just getting some quality group time together: we can offer our Sunday Sessions on selected dates for private gatherings, and reserve a table for you for Brunch or Afternoon Tea in The Factory Kitchen.
Why not add a bottle of fizz or some cocktails to the occasion?
Get in touch to start planning your party: fill in the contact form at the bottom of this page.
A special day for them and thier friends; our Little Biscuits kid's workshops can be tailored to your child's interests.
Facilitated by qualified art teachers, children can learn about different creative techniques while creating some of their own art!
Get in touch to start planning your party: fill in the contact form below
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Visit The Biscuit Factory with the kids this Summer for a variety of children's activities for the Summer Holidays! Plan your family day out in Newcastle with art activities, children's workshops and a kid's menu for them to enjoy at The Factory Kitchen!
Follow the flock this summer to find Shaun the Sheep on The Tyne at The Biscuit Factory Newcastle! In Support of St Oswald's Hospice, you'll find SEVEN Shauns from the popular trail event.
Daily | 10 - 5 | FREE (Donations to St Oswalds are welcomed)
Let their creativity flow with one of our kid's workshops. Led by artists and teachers, children can learn about different artists and techniques while creating some of their own art! See this summer's workshop programme below.
Pick up this free and easy activity sheet to help engage young ones with exploring the art gallery. It can be used for school reports or projects, or simply to remember their trip!
Daily | 10 - 5 | FREE | Ask at the sales desk for a copy.
Our in-house cafe The Factory Kitchen has a special menu for younger diners, all made to order with fresh ingredients. For a special treat check out our ice creams too!
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The local scenery provides a constantly changing set of visual opportunities as the hedgerows grow across the seasons along with the birds that live in them. I like to capture the starker shapes of the trees in winter, while in the spring I tend to focus on the wildflowers in the hedgerows and verges .
In summer I like to find back gardens, usually of a slightly wilder nature. One of my friends has a wonderful garden surrounded by beech trees where she hangs her family’s washing out, which is a favourite subject of mine.
As a textile designer, I was always drawing and working with detailed pattern and texture and following the design process through to a finished fabric. Printmaking has allowed me to continue this and take it in a new direction.i enjoy the many stages in the process from the initial drawing and preparation to the craft techniques involved in actually pulling a print on the etching press.
Foxgloves & Valerian | £120
Backyard Washing | £145
How do you get from sketch to finished print?
I am constantly sketching and building up resources and ideas, some of which I then develop into etchings. I prepare artwork using tinkering pens of various sizes to create a rich range of halftones.
Then I make a “positive” or transparent acetate which is laid over a metal plate coated in light-sensitive film. This is then exposed to UV rays which protects the dark areas of the drawing while baking the high areas hard. The protected areas wash away leaving an intaglio cut which takes up the ink. I use oil-based etching inks in a range of tones. Ink is wiped over the plate which is then polished to remove the surface ink, while leaving ink in the etched areas.
Pamela's artistic journey unfolds through constant sketching and idea-building, a process that eventually gives rise to her ethereal etchings. With a skilled hand, she prepares her artwork using tinkering pens to achieve a broad spectrum of halftones.
The art of printmaking unfolds as the polished, inked plate meets damp traditional etching paper, expertly pressed to transfer the ink from plate to paper, revealing the meticulously crafted image in all its splendor.
Pamela Grace's art showcases the fusion of nature's ever-changing beauty with the skillful artistry of printmaking, offering viewers a window into the enchanting landscapes of Galloway through a unique and captivating lens. As she continues to hone her craft, her prints serve as timeless testaments to the allure of the natural world and the boundless possibilities of artistic expression.
Visit the gallery to see a selection of Pamela's wonderful prints or shop her collection online below!
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In the art world, there are hidden gems that captivate with their seemingly simple yet thought-provoking allure. One such artist is Richard Rainey, a self-taught creative whose reative journey began when he dicovered a discarded art catalgue filled with abstract and collage works. Insinctively he was drawn to the blend of shapes and colours. Today, we look at Rainey's remarkable talent and explore why his faux-naïf art is far more intricate than meets the eye.
The Essence of Rainey's Art
Rainey's acrylic painted canvases possess a distinct charm, characterized by his signature motif sketch lines and markings. Inspired by his daily encounters, personal archives, and folk art, Rainey deftly blends elements of abstraction into his work. Through a clever interplay of perspective, color theory, and composition, Rainey invites viewers to immerse themselves in a playful and lighter rendition of everyday scenes.
The apparent naivety of his compositions belies the deeper layers of symbolism and metaphor, adding complexity and intrigue to his seemingly straightforward works.
Unraveling the Complexity of Faux-Naïf Art
Faux-naïf art, Rainey's chosen style, is an embodiment of paradox. While its visual simplicity may deceive casual observers, a closer look reveals the artistic skill, deliberate choices, and conceptual depth woven into each piece.
Rainey's work stands as a testament to the rich tapestry of emotions and ideas that can be expressed through this distinctive art form. Each canvas becomes a portal, offering viewers a glimpse into Rainey's unique interpretation of the world around us.
Embrace Bigger and Bolder Art
If you find yourself drawn to artwork that challenges conventions and embraces a larger-than-life spirit, Richard Rainey's creations may be the perfect addition to your collection. With his captivating faux-naïf style, Rainey's paintings possess the power to transform any space they inhabit, infusing it with charm, depth, and a touch of playful wonder.
Faux-naïf art, exemplified by the captivating works of Richard Rainey, defies expectations. Its simplicity conceals a world of artistic mastery, thoughtful choices, and intricate conceptual depths.
So, if you're seeking that unique, one-of-a-kind artwork that seamlessly blends playfulness and sophistication, Richard Rainey's remarkable paintings are sure to captivate your imagination and become a staple piece in your collection.
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What is Own Art?
Own Art is a programme run in partnership with Arts Council England that is designed to make buying art easy and accessible; letting you spread the cost of your purchase over 10 months with exclusive interest-free finance.
How does it work?
When we say 'art' you might think of expensive paintings and imposing sculpture, but in reality it covers a broad range of original, handmade art and craft. At The Biscuit Factory this includes jewellery and homewares, as well as paintings, prints, drawings, and sculpture to glassware, ceramics, jewellery, furniture, and textiles.
You can borrow between £100 and £25,000 meaning you can use the scheme to part finance a larger value purchase, or you can even combine the costs of multiple pieces from just £10 per month.
So... if you're on the hunt for homewares and have fallen in love with multiple pieces from our Craft Gallery, maybe you're looking for that perfect birthday or anniversary gift in our Jewellery cabinets or perhaps you're looking to buy that one off special artwork: Own Art helps you spread the cost without any extra fees!
Who's Eligible
Own Art is available to all permanent UK residents over the age of 18, subject to status. This means that you must be able to meet one of the following criteria in order to apply for a loan:
Working 16 Hours per week
A retired person in receipt of a pension
A person in receipt of a disability allowance
*Remember if you're applying for an Own Art Loan in the Gallery you will need to show proof of ID - this could be in the form of a utility bill or just simply your driving licence alng with your credit or debit car as roof of signature.
Further information
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This Month in our Artist Showcase we are featuring textile artist Donna Cheshire. Donna works across textiles with a painterly approach. By combining traditional textiles techniques with a painters process, Donna creates visually stunning landscapes which blur the line between painting and textiles. Donna's landscapes explore the beauty that lies in things exactly as they are.
Donna Cheshire needle felting
When all the Spring Flowers Come out at Once 4, £275
The effect that I create with textiles and thread often confuses people - on first glance they think that they are looking at a painting and only on closer inspection do they realise that they are looking at fabric and stitch. I can achieve this because I use hand dyed fabrics and threads. I use colours which are not flat but change in tone and hue across the surface. I trained in textile design and learnt to dye fabrics whilst at university. In early pieces of my work I used recycled print fabrics but soon realised that this wasn’t giving me the effect that I wanted. So I started to source vintage white cottons, lace and linens that I dye in colours that reflect the landscapes that I love.
The twentieth century artist Joan Eardley has been a big influence on me, looking at her landscapes has encouraged me to draw directly in the landscape and to try to capture the colours and textures that I observe. I also love the work of the Post Impressionists and the Fauveists, with their bold colour palettes and dramatic brushstrokes.
All of my work starts from walking and drawing. Once I have an idea about a composition, usually focusing on colour and mood, I think about how I am going to create the idea in fabric, this might lead to collage and paint work in my sketchbook. Then, I search through my store of hand dyed fabrics and gather together the colours and textures that I need, much as a painter would set out their paints.
I sketch out the composition on a plain cloth and then starting from the sky I work down and forwards through the composition building the scene with scraps of torn fabric. I use free motion embroidery to hold the pieces in place and to add more detail. I am currently experimenting with using thicker threads and with ways of applying thinned paint to the surface to increase the painterly feel in my work.
I consider myself so lucky to be in Newcastle with the beautiful Northumbrian coast and the hills so close by. I love walking and experiencing the landscapes around me and that's what inspires my work.
I go walking with my sketchbook and camera at least once a week. The walk from Craster past Dunstanburgh Castle is a favourite, I love the dramatic rock formations and the bright, fierce yellow gorse.
Climbing up to Simonside I see the huge views looking across to the Cheviot Hills and ever-changing skyscapes add drama to the scenery. I tend to shy away from the more popular scenes as I want to capture a sense of what it is like to be out on the windswept hills or near the sea, whether stormy or calm.
I love wildflowers too and see so many of them actually in and around the city and these feature in many of the pieces that I stitch. Red Campion and Bluebells have featured in recent work, whilst the startling yellow of Flag Iris looks beautiful against the turquoise of a sunlit sea. I actually spent quite a lot of time sketching the flowers on the cycle path right around the corner from the Biscuit Factory!
I also have strong links with Scotland too and sometimes my walks take place in St Abbs, Galloway and the Isle of Arran all of which inspire me with their bold colours and textures.
Summer Landscapes Textiles Workshop, £90
Working as an art teacher, initially with A level and Foundation students but along the way introducing primary school children, prisoners, patients, pensioners which taught me a lot about planning and developing work.
I really value my sketchbooks as places where I can try out ideas and compositions. I use sketchbooks to draw on location, to make notes, to write about the artists that inspire me and to store stitch samples.
When I’m running workshops it never fails to delight me that we can all start from the same source but end up with completely different results - underlining how creative outcomes are influenced by who we are, how we are feeling and what experience we bring to the session.
Try something new and sign up to her Summer Landscapes Textile Workshop; on the 16 July where you can learn how to paint with fabrics just like Donna.
We have a selection of Donna's textile pieces available in the gallery now or you can shop her workshops and collection below!
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This Month in our Artist Showcase we are featuring artist Michael Disley a sculptor of stone who has worked all over the world and completed over a hundred public works all across the UK and Ireland. We wanted to showcase Michael's remarkable career across comercial and public art and share with you some of the things he's been working on recently.
'Tall Pear Tree', Italian Marble on Oak
My journey with stone carving has been long and varied, as a young student at Sunderland.(I discovered the material through a chance encounter with a visiting artist, who name I have sadly forgotten).
I spent three years teaching myself carving with homemade tools and on leaving I went to Chester to learn Stonemasonry and learned to carve ‘properly’..
After a few years here, I studied for a Masters degree in Nottingham and halfway through this course, I won my first sculpture commission at The Leadmill in Sheffield.
Granite is by far the best material for public works as it hardly absorbs any water, so doesn’t age, although the carving is very industrial, involving diamond grinders and polishers through the whole process. Marble is a little softer, and suits the bas-relief tree sculptures I make. Limestone is relatively soft and I enjoy the mallet and chisel work when carving my smaller figurative pieces.
'Snap Time', Normanton
I have made well over a hundred public artworks, the majority of which are
in the UK and Ireland. My most recent two large scale pieces sum up my
approach to all of my work.
‘Snap Time’ installed in Normanton in Yorkshire is a celebration of mining.
So many public art pieces about mining emphasise, the sheer drudgery of
the work and the price the miners and their families paid for a life underground. Both of my grandfathers were miners and when offered the commission, I wanted to make a sculpture that reflected the friendships and camaraderie of the job, which underpinned the communities when the
industry was so quickly closed down.
The sculpture depicts two miners enjoying their “Snap” or dinner and
sharing a joke whist sitting back to back. Granite here stands in for coal
rather well I think. Next to the sculpture are two large benches, shaped liked Snap Tins, allowing the people of Normanton to enjoy their snap along side the miners.
Public art is often overlooked and eventually ignored by passers by, and while I accept this, I would like to add, in an unboastful way that my work has been ignored by many millions of people over the years. Having said that, with the advent of instagram, I have been able to see some lovely interaction with my work posted by walkers, hikers and slightly tipsy town centre revellers.
Another piece which stands out for me is in Drogheda in Southern Ireland. I was commissioned as part of the European Union’s Peace IV programme.
Here a new public square has been developed as a meeting point. St Peter’s square sits between two churches of the same name, one Catholic and one Protestant. I wanted a simple and humorous idea that connected the two churches and suggested a peaceful and friendly future.
The finished sculpture ‘Inspired To Meet’ has two birds, each on top a three metre high granite spire, meeting for a chat, installed just in time for the twentieth anniversary of The Good Friday Agreement in March this year.
‘Inspired to meet’, Drogheda
Over the past forty years, I have, carved stone in Zimbabwe, living and working with some of the great first-generation Shona carvers.
I went to Japan to carve marble and tried to absorb some of the controlled simplicity of the courtyard gardens I saw there. More recently I spent time in India, carving the hard sandstone in Rajasthan, and in Southern China, working with the the granite carvers of Xiamen. All of these experiences have influenced both the way I work and the types
of materials I use.
Carving in Jaipur
Michael's work ranges across prints, trees and small carvings which all have a connection to the larger scale works and act as ideas for future larger pieces
'I try to draw, without s sculpture in mind but I always end up thinking how the image would work in granite, stone or marble, I seem to be stuck with that...'
We have a beautiful selection of Michael's works available in the gallery now or you can shop his collection online below!
*Michael also hosts workshops from his studio in Yorkshire - if you would like to find out more, click on the picture link (left) to head to his website.
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This month in our 'Artist Showcase' we are featuring Bloomsbury-based, jewellery designer and artist Yen Duong. Her jewellery brand 'Yen jewellery' was established in 1996 and still retains an uncompromising passion for thought-provoking design. In developing her brand Yen found that she could push her practice to create pieces which were more structurally complex but also equally as fluid and tactile.
Yen's work is sold directly to her loyal customers from her central London studio in Bloomsbury. She has also had her work displayed in prestigious exhibitions and galleries which include Sotheby’s, The Goldsmiths’ Company and The Crafts Council, having also worked with Liberty of London, Selfridges and Harvey Nichols.
With some questions for Yen and some insight from our Jewellery Curator Maike Browning we wanted to share with you some more information about Yen Jewellery
Yen Duong of Yen Jewellery
Yen Duong expresses her passion for art and design through jewellery. Yen's designs are engaging and the tactile nature of the jewellery invites touch and interaction.
Maike Browning, our Jewellery Curator, described Yen's jewellery; made up of hundreds of tiny 'molecules', painstakingly connected to create striking pieces with a flowing movement. <<Yen's jewellery is beautifully tactile, her eye-catching pieces are designed to look and feel wonderful when worn.>> says Maike.
«Yen’s work is feminine yet striking and the new collection is a wonderful example of how Yen’s molecule theme continues to be the inspiration behind her new designs. Yen has successfully managed to maintain her signature while taking it to another level»
Joanna Hardy, Jewellery Specialist for the BBC Antique Road Show & Sotheby's
Drop Pearl Earrings by Yen Jewellery
When I design, I place movement at the forefront of my decision making because it brings so much more interest and beauty to the piece. For me, the continuity of connection is enriched by a sense of flow and everlasting change.
The core of my design philosophy is to create jewellery that embodies comfort and radiates confidence when the distinctive pieces are worn. Physical movement and visual fluidity in my designs encapsulate a rare intriguing quality. Wearing a piece of my work becomes a journey of interpretation and enjoyment, which feels different each and every time.
Molecule Simple Necklace by Yen Jewellery
Yen Duong is one of our gallery favourites. Her timeless work is always popular with our customers. From small studs, to large statement necklaces, there is something in the collection for every occasion. Each piece is meticulously made and every piece is unique.
If you'd like a closer look at our collection of Yen jewellery our gallery team will be happy to open up the cabinets for you to try on Yen's beautiful pieces and feel their spectacular movement.
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7.30pm Michael Chaplin + Pip Fallow
8.00pm Caro Giles
8.30pm Kate Fox
9.00pm Alex Niven
9.30pm Trevor Wood
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See images of the exhibition in situ below, and the catalogue of the work.
Jim Moir 'Hot Buttered Mattress' Exhibition at The Biscuit Factory Newcastle. Photography by Sean Elliott
Jim Moir, born in Leeds in 1959, is an artist, actor, comedian and author. Although best known for his alter-ego ‘Vic Reeves’, Jim has always been a painter at heart, with his love for art nurtured throughout his childhood.
With artist parents Jim’s youth was immersed in the life of craft and art fairs, and he was encouraged to pursue his own love for creativity. Over the years that has included painting, drawing, photography and sculpture, with Moir maintaining his love of art throughout his television career.
.“Painting is what I always wanted to do. Even while doing Vic and Bob shows, the art was always there, even when it might have looked like it was in the background. Now, though, I can sit in my studio all day, with my own schedule.”
Images by Sean Elliott
‘Hot Buttered Mattress’ was a month-long show that featured a myriad of real and imagined characters taken from popular culture as well as showcasing Jim's ornithological interest, following the release of his 2021 book Birds. From the naive to the expressionist, his style and subject matter reflect a character of extremes; the artist and the performer, the humourist and the thinker.
The collection perfectly captured the range that Moir harnesses as an artist. From the skilled draughtsmanship evident in his representational drawings and painitngs, to the playful and expressive abstracts; Moir's artistic ability is reflected in the various layers of his subject matter.
Ultimately, this exhibition is one of love and nostalgia; 'serious art' peppered with silliness, but all with an underlying affection that reflect memories and passions of the artist himself.
Press
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Samson Tudor (b.1996) achieved a first-class honours degree in BA Fine Art at Loughborough University in 2018, receiving the London based Artists’ Collecting Society (ACS) Material’s Prize in the process, along with a School of Arts Innovation award. Since his degree show, Samson has established his own studio space and continues to develop his artistic practice – exhibiting work nationwide, from London to Newcastle. His work is held in multiple private collections across the UK, and he has worked with internationally renowned artists.
“At the heart of my artwork lies an exploration of the human condition, a perhaps futile attempt to decode it.”
The Gathering by Samson
Samson in his studio
Samson Tudor’s practice predominantly utilises narrative, figurative painting, with elements of allegory, as a form of socio-political commentary. Through a bold and distinctive style, that applies cubist devices and navigates aspects of surrealism, his work explores themes such as; uncertainty, isolation and division.
The artist’s imaginative imagery and compositions are conceived through a series of graphite, pastel and collage studies; which are then rendered on both canvas and gesso board – displaying a rich and vibrant colour palette through oil paint and oil bars.
Tudor’s work balances a contemporary tone with an acknowledgement of historical inspirations, with particular reference to the powerful style of the German Expressionist movement. His artwork aims to invite debate, whilst retaining a sense of ambiguity – that ultimately keeps people searching when they’ve finished looking.
To get advance access to Samson's collection and other updates register below!
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New Writing North and The Bound present an evening with bestselling author Jennifer Saint to celebrate her latest mythological retelling.
Tuesday 25 April | 7:30pm - 8:30pm
Join us at The Biscuit Factory in Newcastle as we invite Sunday Times No. 1 bestselling author Jennifer Saint to talk about her latest novel, Atalanta. Jennifer will be in conversation with Rebecca Wilkie (New Writing North), followed by a Q&A with the audience and an opportunity for book signings after the event.
Doors will open at 7pm for a 7.30pm start. Our book-and-ticket offer includes a welcome drink and a hardback copy of the book (retail price £16.99). A drink-and-ticket only option is also available.
About the author
Thanks to a lifelong fascination with Ancient Greek mythology, Jennifer Saint read Classical Studies at King’s College, London. Since September 2022, she has been a Visiting Research Fellow in the Classics Department there. In between, she spent thirteen years as an English teacher, sharing a love of literature and creative writing with her students. Ariadne is her first novel, Elektra is her second, and Atalanta is her latest mesmerising mythological retelling.
About the organisers
This is the first in a new quarterly series of live bookclub events in Newcastle. New Writing North have teamed up with our friends at The Bound (Forum Books) to bring exciting authors to avid readers in the North East. Sign up to our Northern Bookshelf newsletter to receive extra bookish content each season, including event podcasts and reading group questions.
Find out more about what else we do at New Writing North, or browse the wonderful Forum Books online store.
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Saturday 25 and Sunday 26 March | 10am - 2pm
See local ceramicist Laura Hancock demonstrate her slab-building techinque as she builds and decorates a clay pot ready for smoke-firing.
From 12.30 - 2pm Laura will guide you on a free drop in session to create your own slab-built tea light using air-dry clay that you can take home!
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As the first of many artists to be higlighted in our monthly ‘Artist Showcases’, this month we are featuring Cumbria-based artist and printmaker Alan Stones.
A permanent artist in our collection, Alan Stones has had a successful and interesting career filled with printmaking and oil painting. Among many other things he was part of the New Light Award in 2020-21, and is now a Patron of Printfest.
Alan studied Fine Art at St Martin School of Art in London from 1969-71. In 1985 he won the Gulbenkian Foundation Award which took him to Lowick House is Cumbria to experiment in printmaking and shortly after lithography would become a signature medium in his practice. Where did his minimalist style come from? We interviewed the artist to find out more about his practice and what led him to create the monochromatic & minimalistic prints signature to his collection today.
You can find his collection in our ‘Original Print Gallery’ located on the ground floor in the Western Wing of the Gallery.
Tell us about the process of Lithography and why you work in this medium?
I start by making a drawing, usually over a lightbox, with ink onto True Grain Film over a lightbox. This may involve many alterations by the time it is printed. The next stage is for a light sensitive aluminium Toray plate to be placed in an exposure unit over the drawing where it is exposed through ultraviolet light. After this it is ready to go onto the press. Unlike with an etching press, which involves paper being squeezed between two heavy rollers only a slight pressure is needed to transfer the ink from the plate and onto the paper.
Finally the printed paper is lifted off the plate. With so many processes involved there are a great many opportunities for errors and at this point I will be holding my breath in anticipation of what might appear . . .
Alan in the studio
Couple by Alan Stones
Alan in his studio
A year after my residency in the Falkland Islands, I had an opportunity to return to Lowick House for a couple of weeks. My intention was to make, among other things, a print depicting two trees on a hillside. At that same time my partner, Rebecca, had flown off to New Zealand to visit her family. I had been thinking about the two trees together but standing separately on the hillside as a metaphor for Rebecca and myself.
However, I was working on a smaller press than previously and without the constant assistance of John Sutcliffe. I was struggling to print the ground of the hillside in a colour that was satisfying.
After several hours (walking) it dawned on me; Actually, I wasn’t that interested in the ground of the hillside. What was exciting to me were the two small hawthorn trees and their relative positions on the line of the hill.
This print, ‘Couple’, was the first of many such simple prints. I think these prints get their strength from my enjoyment in simplifying my drawing in a way which allows for metaphorical interpretations: two trees together; a flock of birds; fell walkers with their burdens (rucksacks) on their backs – images which can stand for personal, but universal, moments.
At the beginning of 1995, I was invited by the Falkland Islands Government to visit the islands and spend three months there working as an artist. In retrospect I do think that the stark and treeless landscape of those islands and the vast ‘emptiness’ of the Atlantic Ocean may well have influenced the conception of my ‘minimal’ lithographs. I had been able to give myself permission to leave out extraneous elements and enjoy the simplicity.
Gardener Cottage, Fawkland Islands
“I work as a painter and printmaker and ‘people’ are at the heart of the things I make. I depict ‘nature’ too, but this is nature as a metaphor for human activities or nature very much affected by man.
Looking back it is evident that there are on-going themes in my work and possibly the most constant of these is ‘identity’ or, more precisely, degrees of engagement we have with each other."
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Parents / guardians enjoy a 10% discount in The Factory Kitchen and a few hours yourself while the younger ones indulge their artistic side!
This February half term Little Biscuits goes POP with a celebration of all things bold, bright and 'Pop Art'!
From Andy Warhol-inspired Soup Cans with art teacher Caroline Gregorio, to printed portraits with artist Dan Cimmermann there are lots of sessions for children with all types of interests.
Local ceramicist Kirsty Adams runs a hands-on session where children will get a general introduction to clay through modelling skills, potter's wheel and hand building skills. They'll make three Pop Art-inspired pieces that Kirsty will take to glaze and return to the gallery for collection at a later date.
Meanwhile, artist Pui Lee teaches children how to screeenprint to create their own artworks inspired by the likes of Andy Warhol, Keith Haring and Robert Indiana.
Little Biscuits founder and art teacher, Sally, will also be combining Pop Art and Food for her two-part workshop; children will create a paper cake after artist Patianne Stevenson, and felt pizzas inspired by textile artists Lucy Sparrow and Holly Levell.
Click the images to find out more about each workshop and artist.
Plus NEW for this half term you can add a child's packed lunch from The Factory Kitchen to your booking with each workshop space...
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Ade Adesina is a printmaker based in Aberdeen, Scotland. He was born in a city called Ibadan, Nigeria and moved to the UK in the early 2000s. He studied Fine Art at Bexley College in 2007 before moving to Scotland to further his education at Grays School of Art, Robert Gordon University, Aberdeen. Ade graduated in 2012 with BA Honours in Printmaking and is now an acclaimed contemporary printmaker, being a Royal Scottish Academician.
Ade mostly works with various printmaking mediums including linocut, woodcut and etching, and has experimented with installations, sculpture making and oil painting in the past. His show 'Phantom' is on display at The Biscuit Factory until the end of January 2023
What drew you into the life of an artist?
I remember painting and drawing as young as 8 years old and think this was due to me being inspired by a couple of people in my childhood neighbourhood and schools. At that time, it was a very popular trend to make your own comic books. I was particularly inspired by three good comic book artists from around my childhood area. I was able to see their
finished work and their work process. This was the first creative experience that had an impact on me.
There was also a lot of creativity in my environment such as traditional textile making and all sorts of wood crafts. I also remember in the early 90s sign makers and billboard makers were all over the place.
Ade Adesina in the studio
Mark-making is very important in my work. I have always made it one of my missions to create new ways of working with linocut. Being a printmaker, I experiment with different mediums of printmaking. For example woodcut, screenprint, etching etc. I particularly enjoy working with etching because of the range of tones that can be achieved. Lino also gave me the freedom to work on a larger scale and lino can be worked on exclusively in the studio until it comes to the actual printing of the lino
block.
For the past couple of years, I have been using Dremel multi-tools. This has given me a lot of freedom in my mark-making. I think about the Dremel as my pen and I use micro drills from 0.2mm up to 1.5mm. The best way to describe how I use the micro drills and the effect that it achieves is to compare it to pointillism. An important point to make is that when it comes to linocut, every mark that you make is negative and also back to front.
Therefore creating a light tone takes a lot of drilling. It takes months of drilling to create the light tone for a print. I also use various etching tools such as etching needles and burnishers to make fine lines or to create different tones and movements. The kinds of marks that you get from these tools are quite delicate which makes the printing process challenging and interesting.
I impact directly onto whatever material I’m working on: no sketchbooks, sketches, or a plan; mixing, and collating images and ideas to tell a story or make a statement. With a minimal pencil or pen drawing, I use my cutting tools just like I would use a pen or charcoal on paper. I enjoy trying tools not necessarily made for lino cutting, woodcutting, or etching to make varying marks and tones - just to see how they come out in the first print proofing.
I grew up in an environment where the news is always on, and I feel like I have a fair knowledge of the world. Also, I'm inspired by David Attenborough's documentaries and various other documentaries about the planet, the species, and nature. I feel like these are important issues that need to be addressed. From environmental disasters to political and humanitarian crises around the world. These are some of the issues I like to tackle in my work.
I like to highlight the connection between issues and places, the past, present and future. I also like to highlight the beauty of our planet. One of the artists I looked at earlier in my career is Edward Burra, his storytelling and record keeping of particular time in history has been big insparation the way I aproach my work.
Every collaboration is different and most of the artists I’ve collaborated with in the past are none printmakers. This brings an exciting and interesting challenge to the projects. Sometimes I work side by side with the other artist and sometimes the composition of the project basically starts from the conversations and exchanging of ideas. There’s been times when artists would send me sketches of an idea and my challenge is to interpret the story and transform the idea into printmaking medium. I have also enjoyed working side by side on a particular lino block with three of the artists I’ve collaborated. For me I think, collaboration as a creative person is really important because sometimes it can take you out of your comfort zone and open new doors to new ways of making work.
Most of my recent works ask questions on issues around the globe and the hope of finding an answer or some conclusion along the way. I will be happy if people can see those questions and find their own answers..
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Ade Adesina, born in Nigeria 1980, is currently a full time Artist based in Aberdeen, Scotland. He studied printmaking at Grays School of Art, Aberdeen, is a Royal Scottish Academician, a member of the Royal Glasgow Institute of The Fine Arts and The London Group, and an Associate Member of The Royal Society of Painter-Printmakers. Ade is a past Artist in Residence at Eton College and Glasgow Print Studio and has exhibited widely, including in the Royal Academy of Art’s 2020 Summer Exhibition.
<<Adesina combines traditional printmaking techniques with an innovative approach to subject matter. Drawing on a vast reserve of memories and imagined scenarios, Adesina has created a visual language laden with symbolism and incisive comment.>>
The Royal Scottish Academy
Phantom includes a body of work that addresses recent global issues. Most of the work in this exhibition looks through the past, present and future of global societies, touching on subjects such as environment, politics and beliefs. Some of the works highlight amazing beauty from nature incorporated into the urban environments. The show also includes some collaborative prints, by artists including David Mach RA, Lennox Dunbar RSA, Ian Burke, Florence Poirier Nkpa, Ahmad Ahmad, and Barry McGlashan
<<I work in a very strange way. Every print, sculpture or painting owns a story; it is like reading a novel. There are different characters coming in at different chapters. I don't find it interesting knowing where a piece of work is going to end before I begin. I can start on the earth and end on the moon. What I enjoy most includes not knowing what direction a piece of work is going>>
Ade Adesina
Ade's exhibition launches on Friday 25 November at our 20th Anniversary Celebration - why not join us? Find out more and get free tickets here.
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This winter he presents a thought-provoking and timely collection: a visual commentary around the ideas of ecology and our ever-changing world, and the impact human footprints leave on our planet.
Ade has had successful exhibitions at The Biscuit Factory in previous years, but this showcase will be the largest collection of his work we have exhibited to date.
We unveil a new, permanent installation to commemorate our 20th anniversary, created by local sculptor Megan Randall.
Over recent months Megan has created a work that represents our ethos; as champions of hand made and original and to celebrate our commitment to nurturing and developing artistic opportunities, appreciation and engagement in the North East.
Alongside visitors to the gallery, Megan has moulded and inscribed organic clay shapes in their hundreds, influenced by the history of the building with references to our biscuit heritage as well as more modern mark making combine to form a large scale installation.
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Multi-disciplinary artist and winner of The Biscuit Factory’s 2020 Contemporary Young Artist Award returns to the gallery this September with her solo show; Belonging(s).
A playful exploration of the relationships people have with their possessions, Millie’s exhibition is a narrative that has woven throughout her work since she left her family home to gain her degree in Decorative Arts. Her prize-winning submission ‘If the Shoe Fits’ in 2019 was a commentary at the time of life as a modern Brit, and the influence of brands on everyday lives. We spoke to Millie about her new collection, entitled 'Belonging(s)' which is showcased until 23 October.
What was your inspiration for your new showcase?
The inspiration for the show was playfully exploring the relationship between people and their possessions, including how specific items can be used to both enhance one's outward appearance whilst masking one's hidden insecurities.
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You have created five characters for your exhibition - can you tell us more about them?
I have always been interested in the possessions people choose to own, identify with and what they hope to convey through them. I wanted to explore this further by developing my own characters and narratives. The characters are imaginary but are based on the people I see around me or have met.
Unlike previous projects where each character represented something different, these characters are meant to simply exist, but with each of them conveying a relatable thought, feeling or experience.
I think I always like the first character the best. I feel thankful to them for sparking the idea, they almost feel like an old friend. For this show that's Sol, with his kind face and big green hat. But I am also pretty pleased with the pink handbag as it's probably the most technically ambitious piece I have made to date.
Your practice includes both 2D and 3D art - how do you work across these disciplines?
I have always liked working in different media, having never seen myself as solely an illustrator or a ceramicist. I don't believe my strength as an artist lies in my ability to use either medium, but rather in my ability to combine both to represent an idea.
Having worked in a ceramics gallery, I found that sculpture, although very beautiful, sometimes needs to be given a context. I realised that I enjoyed creating an illustration to establish a context for my ceramic pieces, and therefore generating a sense of cohesion between the 2D and 3D art worlds which I inhabit.
In all honesty I'm not too sure. The aim is to keep trying to make work that I like and resonates with at least one other person! With every project I feel myself improving technically which allows me to get closer to reaching the ideas I hope to execute.
Millie Suu-Kyi in her studio
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Mychael Barratt
Mychael Barrat is a painter and printmaker whose detailed work is often as narrative as it is visual. His work is steeped in imagery relating to art history, literature, theatre and everything else that overfills his bookshelves.
Mychael is a Fellow of the Royal Society of Painter-Printmakers and in 2013 was elected President. He was also an artist in residence for Shakespeare’s Globe Theatre throughout Mark Rylance’s reign as Artistic Director. His work is held in many collections including the Ashmolean Museum, V&A Museum, the British Library and the Jiangsu Museum of Contemporary Art.
A firm favourite among art-lovers, Mychael's featured work in the RA Summer Exhibition is an homage to the intriguing landscape of Dungeness.
Parallel by Ade Adesina at The Royal Academy Summer Exhibition
Ade Adesina
Our forthcoming Winter Showcase artist, Ade Adesina describes himself as a "traditional printmaker, painter and sculptor with a modern twist" working mostly with woodcarving, linocut, etching, and oil.
Ade combines his African cultural roots with his experience of British culture, producing work that makes people reflect on the past, present and the future and particularly ideas around ecology and the effect of the human footprint on the planet.
Ade's 'Parallel' print was selected to be part of the Summer Exhibition this year. We'll be welcoming Ade in November, and you can register for a preview of his collection below!
Tim Southall
Tim is a painter / printmaker working in oils on canvas and paper, etching and silkscreen. Most of his work is made at his studio in southern Spain.
A graduate of Northumbria University and the Royal College of Art, Tim makes work that is a response to the world, taking inspiration from the rural environment in which he lives and works. He attempts to describe the oldest classical themes with a modern voice and in the process, express something fresh and exciting.
Danse Macabre was selected for the Royal Academy exhibition this year.
Trevor Price
Trevor Price specialises in drypoints and etchings, handmade and printed by the artist from his studios in St. Ives and Bermondsey, south London. He is a member of the Royal Society of Painter Printmakers (since 1992) and the Vice President 2013 - 2018.
Having held over 50 solo and 2-person exhibitions, his work is in collections which include His Royal Highness Prince Michael of Kent, the V & A Museum, Ashmolean Museum, FitzWilliam Museum, Guangdong Museum of Art (China) and Yinchuan Contemporary Art Museum (China).
Hepworth's Garden II was selected to be part of the Summer Exhibition this year.
Michelle Barratt
Michelle's 'Unite' painting was actually selected in 2021, but has just arrived as part of a new collection of original paintings from first-time exhibitor Michelle Barratt.
Drawing on learnings from her Masters in Architecture, the painting features a delicate, organised palette of colour architectural language, drawing heavily on creative currents in fine arts and philosophy to develop innovative techniques in the design of buildings.
'Unite' is available to purchase as part of Michelle's current collection at The Biscuit Factory.
Unite by Michelle Barratt from at The Royal Academy Summer Exhibition 2021
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Graham Rider
Meet our headline artist Graham Rider.
Graham is a landscape painter, who has been practicing for over 40 years. With particular focus on the hinterland between land and sea, Graham’s work aims to capture the feeling of standing within the scene itself. His style of painting is more impressionist than photographic; conveying that which cannot be seen and directly represented in realism – the softness of the sand and the rustle of the grass.
Over the years, Graham has completed various commissions such as a triptych of Liverpool St Station for Railtrack (a project that now hangs in the National Railways Museum) and a painting of Covent Garden for Guardian Royal Properties.
Sol by Millie Suu-Kyi
Millie Suu-Kyi
Join Millie, the winner of our 2020 Open Contemporary Young Artist Award, as she presents a solo show of new work featuring 5 imaginary characters and their possessions, represented in both illustration and sculpture.
The inspiration for the show is a playful exploration into the relationship between people and their possessions, including how specific items can be used to both enhance one's outward appearance whilst masking one's hidden insecurities....
Northern Photography Prize 2022
This exclusive exhibition will showcase the photographs shortlisted for the Northern Photography Prize 2022.
Founded in 2021 by bestselling author LJ Ross, who will be opening the exhibition on Saturday, through her publishing imprint Dark Skies Publishing, consists of two awards that recognise photographs that capture the spirit (landscape) and heart (people and portraits) of the North East of England.
Open to all amateur photographers across the UK, the awards aim to build, support, and maintain confidence of new and emerging photographers. The shortlist has been selected by a panel of judges including LJ Ross, Newcastle-based professional photographers Jason Friend and Adam Lang, The Alnwick Garden’s Daniel Russell, and Living North Editor Janet Blair.
Arc Fold Brooch by Ruth Laird
New JewelleryCollections
We'll be welcoming a multitude of new contemporary jewellery collections including:
Rachel Brown - silver, enamel and resin jewellery with hand-drawn embellishments
Silverkupe - limited collections of handmade jewellery in silver and gold with bold designs and colours
Ruth Laird - silver and gold jewellery inspired by geometry, architectural structures and abstract perspectives
Clare Hillerby - unique pieces in sterling silver and perspex, preserving hand-picked historic ephemera.
RSVP by 7 September to art@thebiscuitfactory.com to let us know you'll be there!
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