Visit artist's studios and venues in Peterborough and the surrounding areas

Dear PAOS Members

Welcome to PAOS 2017.  We are delighted to welcome many new artists who have joined us this year together with many familiar names who have taken part in Peterborough Artists’ Open Studios before.

This page is designed to inform PAOS membership about some key diary dates for PAOS 2017, including:

 	Brochure Collection - Wednesday 10th May 7pm-8.30pm at City College Peterborough
 	Launch Event - Saturday 3rd June 9am - 5pm on Cathedral Square
 	PAOS 2017 Artists'  Get Together - Sunday 16th July 3pm-6pm at the Fresh Pizza Co and Cookhouse, Whittlesey.

The PAOS 2017 directory will be published and ready for collection on Wednesday 10th May between 7pm and 8.30pm from City College Peterborough, Brook Street, Peterborough PE1 1TU.
Each artist will receive:

 	PAOS 2017 brochures (minimum 20 per artist)
 	Banner to exhibit at your PAOS location.  (A £20 cheque deposit will be required made payable to PAOS on the day of collection to cover the cost of replacing the banner in case of loss or damage. No cash please! The cheque will be destroyed when the banner is returned.)
 	Your PAOS Member Artist pin badge
 	PAOS 2017 Event card
 	Competition stickers to encourage visitors to visit other artists to have a chance to win £100 to spend with the artist(s) of their choice. Details of the competition will be provided.

The event will also provide you with the opportunity to meet the PAOS Team and other artists taking part in PAOS 2017 so we hope to see you on the 10th May.

If you are unable to join us, please email to make alternative arrangements to pick up your items.

Could we also ask you, if you haven’t already done so, to check your Artist’s Page on the PAOS website to make sure your profile and other information is correct so you can update the information if required. A copy of the brochure is available now on the website on the ‘visiting the open studios’ page and on the PAOS issuu site too

Distribution of brochures 
Although the PAOS team distribute brochures to places where member of the public can access them including the Tourist Information Centre, Metal, libraries and community centres we always encourage members to distribute the brochures to places they go to including gyms, schools, pubs and cafes, church or faith centres, colleagues, friends and relatives. Each member will receive at least 20 brochures but please feel free to take more.

We require a valid cheque for £20 as a refundable deposit for a banner. This is to cover the partial cost of a replacement banner should yours be damaged or lost and will be returned to you when you return your banner.
We suggest that you wait to put your banner up until just before Open Studios in order to avoid unwanted visitors knocking on your door before the event starts.

It can be taken down between the weekends, if you wish, but should be well secured when up in order to avoid theft or slippage.

Postcards - great for personalising to send out an invitation. See website for details of how to make a sticker.

Social Media - don't forget to promote your event via social media. Make sure you follow PAOS on Facebook and Twitter and we will share your posts/tweets.

You could be part of our Launch Event on Saturday 3rd June on Cathedral Square. PAOS will be based in a marque on Cathedral Square promoting PAOS 2017 and showcasing some of our great member artist on the day. If you could like to be part of this event and demonstrate/exhibit your work, please contact  The event is open to the public from 9am – 5pm (set up by 8.30am).  Places are strictly limited so please contact us as soon as possible.

You, and your guests, are invited to celebrate the success of Open Studios 2017 to get together at a social event on Sunday 16th July 3-6pm at the Fresh Pizza Co & Cookhouse, 3-5 Queens Road, Whittlesey, Peterborough PE7 1AY.  This event is free for member artists, £5 for guests (£2.50 for under 16s).  A light buffet and soft refreshments will be provided within the ticket price and a paid bar is available too.  If you would like to book your place, please email by Friday 7thJuly 2017.  We hope to see you there.

If you want to be kept informed about PAOS members, key event and news why not follow PAOS on Facebook and Twitter?  The PAOS team will also share key information you post with its members and followers.

Good luck everybody and we look forward to seeing you on the 10th May!

Best wishes

The PAOS Team


Dear PAOS Members Welcome to PAOS 2017.  We are delighted to welcome many new artists who have joined us this More

15 April - 20 May

Large Gallery

At Kettering Museum and Art Gallery we recognise the number of artists wanting to exhibit at the Alfred East Art Gallery and the motivation and inspiration that drives artists, young and old, to get involved in our diverse exhibitions.

For one year only we have decided to adapt our 'Open' exhibition to allow more participation from all artists; this will enable us to support more talent in the region and allow us to create an affordable art exhibition for everyone!

Congratualtions to PAOS artist John McGowan, whose works are included in the exhibition, one of John's prints has won the Atelier Print prize.

[caption id="attachment_3229" align="alignleft" width="431"] “Atelier Print” prizewinner John McGowan with “Pablo’s Pears” at the Alfred East Gallery 2017[/caption]


About Kettering Art Gallery:

Local artist, Alfred East, wanted to make art accessible to Kettering workers and created a strong stimulus for a public gallery to be built. He shared ideas with philanthropist, Andrew Carnegie, who gifted a library to Kettering in 1904 to give the working man the opportunity for self-development.

The Collection was started when ‘The Connoisseur’, a portrait by W B Gash, of a wellknown local antique dealer, was purchased by local subscribers and presented to the town as a possible foundation for a permanent art collection.

In 1910, East received a knighthood in the King’s Birthday Honours List. This was celebrated with a banquet at the Royal Hotel, Kettering. At this celebration East presented the town with the painting, Midland Meadows, which initially hung in the Public Library for three years.

The town soon accepted a much larger gift by East, a collection of seventy of his best works. The condition of the gift was that the town should build a purpose-built gallery to house this body of work.

Funded by public subscription, the Alfred East Art Gallery was officially opened on 31st July, 1913, by Earl Spencer, K.G., Lord Lieutenant of Northamptonshire. Unfortunately, Sir Alfred East was unable to attend due to ill health, but was represented by his nephew, W D’ Este Emery.

East’s greatly wished for recovery never took place and, less than three months later, the great artist passed away without seeing his gift of works hung in a gallery in his native town.

Alfred East Art Gallery
17 Bowling Green Rd, Kettering NN15 7QX

open:  Tuesdays to Saturdays, 10am - 4.45pm (Last Admission 4:30pm)

PAOS’ Prizewinner at the Alfred East Gallery, Kettering

15 April – 20 May Large Gallery At Kettering Museum and Art Gallery we recognise the number of artists wanting More

National Centre for Craft and Design, Sleaford, Lincs NG34 7TW
Free Entry, open daily 10am to 5pm except Bank Holidays which are 10 am to 4pm.

Kathryn Parsons,  Ann Povely, Paula Briggs & Jennie McCall

Made in East Midlands features the work of four artists from our region, each inspired by collecting and collections.  The exhibition features a fantasy dinner set, a coral garden, a nest of bones and an assemblage of ceramic vessels

Based in Peterborough, Kathryn Parsons’ inspiration comes from the corals that grow around the coast of Britain.  Curiosity and a desire to learn more about these curious creatures led to a visit to Peterborough Museum to see their corals, a local aquarium to see living corals, and an extraordinary invitation to visit the coral collection behind the scenes at the Natural History Museum.  The result is a new body of work that takes its inspiration from the complex beauty of the corals, historic and personal collections, and the increasing concerns for the future of corals and the ecosystems that depend on them.  Intricate hand modelled porcelain coral creatures and found natural, vintage and retro objects are combined to create precious treasures.  Each piece which tells its own story of a time long before corals became endangered and their collection highly regulated, when something beautiful was found washed up on a beach…. and became a treasure.

Made in East Midlands: The Collectors

National Centre for Craft and Design, Sleaford, Lincs NG34 7TW Free Entry, open daily 10am to 5pm except Bank Holidays More

JC: My second interview is with Eve Marshall, a full time artisan felter and teacher, who has become very prolific in this corner of the world over the last few years.  I first came across Eve’s work at Art in the Heart when it was still at the Bridge Street address.     Her quirky pieces have proved popular and are very in keeping with the shop’s exclusive appeal.   Quite frankly, I don’t know how she finds the time, but Eve can still be found helping out at Art in the Heart every Friday.


The PAOS committee are very excited to have Eve on board this year for the first time.  If you have not previously come across Eve’s work before, there is a choice of two venues to visit and peruse her work; Ferry Meadows Discovery Den and Charron Pugsley-Hill’s studio in Longthorpe.  Details are all on the PAOS website.  This interview will give you a flavour as to what is to come…


JC: Why have you decided to join PAOS this year?


EM: A lot of my work has been involving Peterborough this year.  So, the Poppy Project I did with Charron (Pugsley-Hill) meant people started recognising me as a Peterborough Artist.  However, I don’t actually live in Peterborough, so haven’t actually thought about doing it before.  I had a chat with Tony Nero (PAOS committee member) who said I could combine with someone else to take part.  Mainly because a lot of my artwork is sold here and I do a lot of workshops here, I thought it would be a good time to show off other bits that I do.  I learned from Tony that you can exhibit as part of PAOS as long as you work or live in Peterborough.


JC: Why were you drawn to feltmaking initially?


EM: I bought myself a kit about 12 years ago when I was a primary school teacher in America.  My medium then was watercolour and I was doing a lot of painting and sewing and things like that.  I wanted to incorporate some extra bits in with my sewing and I started needle felting squids and jellyfish.  Then I moved here and started teaching all sorts of crafting classes.  I was able to get the wool and the felting materials quite easily and started teaching felting too.  I found it a very versatile medium to work with and I got to use all my skills as an artist too.


JC: What did you specialise in before you became a primary school teacher?


EM: My degree is in Fine Art and Early Childhood Education.  I did early years primary school in America and painting as a hobby.


JC: What memorable responses have you had to your work?


EM: A lot of people have come to exhibitions that I have done and said that the pieces are lovely and whimsical, and things like that.  They can’t necessarily afford them but they still enjoy looking at them.  Some people come and want me to teach them after having seen them, which is always nice.


JC: Will you be doing any demonstrations during the PAOS weekend?


EM: Yes, Charron and I have a couple of different things planned.  We have been doing lots of free workshops at Ferry Meadows for the last couple of months for her residency and we will be doing some demonstrating of making felt flowers and things like that.


JC: Where do you get your inspiration?


EM: I live in the countryside, in a tiny village in South Lincolnshire.  A lot of it comes from my surroundings, as I am driving around, mentally taking in the scenery.   I have had a series of mice in the last year and a half because my Mom has cats that eat mice.   About three times a day we had all these dead mice to deal with and I started really studying them and decided to make some out of felt.  So inspiration comes from what’s around me, colours and textures and seeing what I can stick into my felt pieces.


JC: You lived in America; I am intrigued to find out why you are now living in Lincolnshire?


EM: I moved to America when I was six with my family.  I was born here,  but we moved  because of my Dad’s job.  My Mom moved back 15 years ago, I have been back for seven years now.  I am a British citizen with a ‘weird’ accent.


JC: What was the last exhibition you went to and what did you think of it?


EM: I went to a group exhibition in Stamford, which was all to do with ‘abstract’.  I had a really nice time and it was very well curated.  I believe it was the students who do the abstract classes at the Arts Centre and they were showing off what they had done.

JC: What if anything, would you like to improve on in your work?


EM: I am trying to work on accessibility of pieces. Right now, I am trying to work on pieces that don’t take me so long.  Some of my pictures take me a very long time to do and selling them is hard because of this.    I am trying to do sketches in felt now, something I can make, which I enjoy, which are very similar to a pen and ink sketch using felt. I want to have all shapes and sizes available for the Open Studios instead of lots of big pieces with minute details, which I love to do but aren’t always that accessible.


JC: What do you like about your work?


EM: For me, a lot of feltmakers create very similar work with landscapes and textures and things like that.  I try and get the landscapes but also include an animal with lots of details, which I think makes my work stand out from other felt makers.  I guess it’s my attention to detail and the wacky and weird too.

JC: What research do you do?


EM: Usually I have a lot of books on animals and nature around.  I am always looking at books to make sure everything looks the way it’s supposed to.   I’m not one of those artists who looks at other people’s art that much.  Mainly it’s from surroundings, taking photographs and thinking, ‘how can I make that out of felt?’


JC: What would be your dream project?


EM: I would really like to do a tea set.   It’s just wondering what to do with it when it’s created.  It would need to be part of some grand project.


JC: Do you have a favourite place that inspires you the most?


EM: Usually just sitting in my conservatory is one of my most inspirational places.  I can see and hear birds and completely relax there.  Just walking around my village actually, there is so much wildlife and lovely bits to enjoy.


JC: Professionally what’s your goal with regard to your artwork?


EM: I would like to do some more exhibitions and try and stay local.  I have worked nationally but found  the travelling too much.  Work, life balance is the big thing at the moment.



Jacki Cairns Interview 2 – Eve Marshall

JC: My second interview is with Eve Marshall, a full time artisan felter and teacher, who has become very prolific More

An Interview with Artist Tony Lovell by Jacki Cairns
[caption id="attachment_3049" align="alignnone" width="351"] Photography Artist Tony Lovell 2017[/caption]

JC:  When I joined the PAOS committee I wanted to be useful in some way but I did warn  the committee that admin was certainly not my strong point.  It was brought up at the first meeting that they needed a member to interview a random selection of new PAOS members and I was first to put my hand up.

I am very inquisitive (some would say, just nosey) and always find the narrative that runs behind an artwork makes my viewing experience richer and more enjoyable.   Thankfully, my mother’s obsession with me learning how to touch type has come in handy, yet again.

As the weather is finally starting to gear up for summer and leads us into the build up to the 2017 PAOS season, now seems a fitting time to start interviewing new members.  If you are a new member yourself, and would like to be featured on this website please contact me at and I will endeavour to interview as many people as I can during the next few months.  An Instagram page will also be introduced shortly to coincide with these interviews to offer a sneak peak into what the open studios will have to offer this year.

This, my first interview,  with new member Tony Lovell, was quite a nice way to start for me, as Tony is my partner’s elder brother a.k.a ‘the sensible one’.    Tony and I both share an obsession in Photography and often jeopardise the conversation at the dinner table talking about the subject and all its permutations.  We come to the subject from very different angles, as I  use my lack of technical expertise as a conceptual devise, always questioning our perceived need for ‘perfection’ and have seemingly made a career out  of turning my mistakes into ‘happy accidents’.   Tony, conversely, is extremely meticulous when it comes to technical accuracy and his work plays testament to this.   Thankfully we both have a mutual respect for each others work and our often differing views on the subject.   I thought I knew Tony’s work pretty well, but actually interviewing him in his studio, surrounded by examples of his work, I feel I have a new fresh perspective on what he is doing.

Tony’s exhibition will, I assume, be very popular with Photography enthusiasts, however the way he works has a very painterly quality in terms of composition and fluidity.   Had I not done the interview, I may not have discovered the photographer ‘Alex Timmermans’ who I have since researched.   As Tony’s main source of inspiration I can see a direct correlation between their imagery.   They both share the same perfectionist streak using a very stubborn and demanding wet plate technique.    I don’t mean to gush, but the results are sublime.

When the PAOS exhibitions are in full swing, I would whole-heartedly recommend a detour up the Lincoln Road to see Tony’s recently renovated purpose built studio.   It feels like walking into a Tardis and landing yourself in a Victorian portrait studio. Tony’s answers to my questions will give you a flavour as to why….


JC: Why have you decided to join PAOS this year?


TL: I’ve always taken photographs, but not necessarily exhibited them to the wider public and I thought it would a good way of showing people what I am doing.  My work is quite unusual from a photographic point of view and I believe that other people may find it interesting.   As far as I am aware, I am the only person in Peterborough working with Victorian cameras and using older processes.  Locally, I am certainly the only person doing wet plate photography at the moment.


JC: Why were you drawn to Photography in the first instance?


TL: I was introduced to it when I used to go fishing, and bought a camera to record what I was catching.  I pretty soon became more and more involved in and more interested in the photography than just the fishing.  Then I joined the local camera club, Peterborough Photographic Society, and it spiralled from there.


JC: What memorable responses have you had to your work?


TL: I have a lot of really positive responses to my wet plate portraits.   They really do not look like a photograph,  people are usually very surprised how they come out.  It certainly brings out the character in people and it is not like a straight picture in a way because the process uses visible as well as ultra violet light.  Generally images have a three dimensional quality.


JC: Are you going to show some of your older work as well as your more recent wet plate photography this year?


TL: Yes, I was going to show a wide variety of dark room prints, which are all monochrome.   My wildlife prints that have been created using a full frame Nikon digital camera with usually a long lens.


JC: Will you be doing any demonstrations during the PAOS weekend?


TL: Yes, I thought I would.  I am a bit limited as to what I can do, but I have got in mind at least setting up a still life so I can be doing the process, rather than just showing the pictures.


JC: Where do you get your inspiration?


TL: I went on a ‘Wet Plate Weekend’ in the Netherlands organised by a photographer called Alex Timmermans whose work is particularly inspiring.  He tries to tell a story with each picture and puts a lot of preparation into it.  I guess, with the work I am doing, he is the man I look up to at the moment and who I aspire to.   He has just published a book, called ‘Story Telling’.


JC: What was the last exhibition you went to and what did you make of it?


TL: I went to Elton John’s exhibition at the Tate Modern.  Elton John collects old photographs, mostly black and white.  It was a mind-blowing exhibition to see original work from so many famous photographers; Herb Ritts,  Ansel Adams and Man Ray, to name but a few.  He collected the best of the best, and paid a fortune for them.  As you would expect from Elton John,  the frames were really over the top, very flamboyant and ornate.

[caption id="attachment_2805" align="alignleft" width="446"] 8 x 11 Clear glass Ambrotype[/caption]

JC: What if anything would you like to improve on with regard to your work? 


TL: A general improvement in what I am doing, but I think that just comes with time and practice.  I started off doing quite small plates because it’s a very tactile hands on process but have progressed to bigger plates and eventually would like to be able to produce one off life size plates.  It is a slow process and will take me a few years to achieve my ultimate goal.


The technique is renowned for not being an easy process to master.  I had two friends come over the other week, to have their portraits taken and everything went wrong on the day and they went home with nothing.   It’s a sobering realisation that achieving a successful finished piece is so difficult, but when you do get it right it makes it that much more rewarding.  As time goes by I am learning more and more about how to correct issues when things go wrong, all trial and error.


JC: Is it important that you print everything yourself?


TL: Yes definitely, that to me is the most important part of the process.   I like to do everything myself i.e. mix my own chemicals, process my own negatives and then print from my own negatives.   Whether it be wet plate or darkroom photography the process of making the print is 50%  of the work .  It is not just a record, it’s making an image, but burning, dodging,  to achieve the finished result.



JC: What do you like about your own work?


TL: I like the fact they are one off images, it’s very difficult to get two identical images.  So they are always a bit different, it varies from day to day.



JC: What sort of research do you do?


TL: I collect Victorian portrait photography this allows me to study how they were posed, how they sat and how the studios were set up.   More than just the technical side, I am interested in the history of it, in the cameras and the lenses, so I do have a number of older cameras and lenses.


JC: What would be your dream project?


TL: I would like to photograph Rannulph Fiennes, the explorer.  I’ve met him on a couple of occasions and he’s a real character.  I do know someone who knows him, so there is a small possibility it could become a reality.  We will wait and see.


JC: Name 3 artists/photographers who you would like to be compared to?


TL: I have already mentioned Alex Timmerman; he is a huge inspiration presently.    Ansel Adams, landscape photographer who doesn’t really relate to my current work, but my landscapes in the past were definitely heavily inspired by him.  The third one would have to be Bob Carlos Clarke, he was a fashion photographer and a darkroom expert.  I went to his studio and his darkroom about 15 years ago and I learned more in a weekend then I literally did in the previous 5 or 10 years.  He was just a genius in printing.

[caption id="attachment_2807" align="aligncenter" width="557"] Re-enactment Holland 2016 7x5 inch clear glass Ambrotype[/caption]

JC: You are obviously very well travelled, have you got a favourite place that inspires you the most?


TL: In the past I would have said New York, but I was very inspired by Havana, Cuba when I went last Christmas, probably one of the most interesting places I have visited and photographed, I particularly liked the old buildings.


TL: I enjoy photographing abandoned houses, cars, and neglected things generally of which there was a lot of in Cuba.  I love the way the buildings, although amazing in architectural terms, have had no money spent on them so there are historic buildings with peeling paint and plaster on the walls.  I had seen a lot of pictures of people and cars in Havana, but I really went to photograph the buildings and I spent two weeks doing so.


JC: Have you done many commissions in the past and are you open to doing them in the future?


TL: Yes I have done some, an example is a local Graphic Design company asked me to do wet plate portraits of each of their staff members.  We did a series of portraits, one a week for an evening which was a two or three hour session with each person.  The only reshoot we needed was with just one staff member.


I would be interested in taking on commissions as long as they were in this traditional wet plate portraiture style I am currently working on.  Producing digital photography really does not interest me at the moment.


JC: Commerciality and creativity, how do you juggle the two or do you bother?


TL: I don’t consider the commercial side at all, I just try and do what interests me, the commercial side is very much secondary.


JC: Professionally what is your goal with regard to your Photography?


TL: I would like to spend more time printing in the darkroom.  I do tend to take a lot of photographs and not print them as I should do, so I am now trying to make a concerted effort not to just take pictures but show them as well.… One of the main reasons I have joined PAOS.

Jacki Cairns Interviews: 1 – Tony Lovell

An Interview with Artist Tony Lovell by Jacki Cairns JC:  When I joined the PAOS committee I wanted to be useful More

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