Biff and the dummies dominate third Yeadon retrospective exhibition

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What Are You Looking At?

The third in a series of exhibitions to celebrate artist John Yeadon reaching 70 features paintings of a manically grinning ventriloquist’s dummy and drawings of a strange creature called Biff.
These weird and wonderful creatures inhabit our world but through them we see it in a different and slightly unnerved way, one which is entrancing and repelling at the same time.
Over the years John has created different bodies of work in varying mediums. An exhibition in the former Coventry Telegraph building last year featured mostly large paintings from the 1980s, some of which had led to a scandalised and homophobic editorial in the paper at the time. There is also a decade of digital work which has not been featured in these exhibitions.
This show, at the Lanchester Research Gallery at Coventry University until February 22, is called Fearful Symmetry. It includes a large number of etchings and drawings of Blind Bifford Jelly, a grotesque character which is an amalgam of body parts; usually lacking one arm, and with his head in place of his torso.
Blind Biff Fucks a Pig
Blind Biff Fucks a Pig

The scene is set for the irreverence with which Biff sees the world in How Blind Biff Greets his Audience, showing our hero with his pants down, bottom and balls thrust towards us. In others he explains to animals “How the Big Ones Eat the Little Ones”. He breaks his journey to masturbate by the pathway, watched by a dog, and in the Houses of Parliament peopled by ape-like creatures he swings the mace.
In one of the drawings he visits Blackpool and gets his toe bitten by a crab, sees the Lady Godiva statue in Coventry, and Blind Biff Searches for God – with a torch, on the carpet.

How BB Jely Swung the Mace in Parliament
How BB Jelly Swung the Mace in Parliament

Biff also features in coloured works with a collage of images in each picture, including Biff exploring sneezing and enjoying a Christmas of drink and food.
In his introduction in the exhibition’s catalogue John said the character of Biff had been influenced by his mother’s ventriloquist dummy Tommy.

He’s Back

The fascinating family history of performing with ventriloquist dummies features in the next part of the exhibition, including family photos and memorabilia, and the Tommy and Annie dummies themselves. There are unnerving portraits of the pair in Tommy (the Suit Case Act) and Annie (Ghost of my Grandmother), specially the latter looking like a stocky and slightly menacing little girl.
Other portraits of them and other dummies show them in different poses and taking on characters and thoughts, raising the question of who is manipulating who, and really speaking out.
In an excellent essay in the catalogue, George Shaw recounts how he first met John Yeadon in the 1980s after discovering an exhibition of his work at the Herbert Art Gallery in Coventry, and he discusses the significance of the Biff and ventriloquist dummy works. Don’t miss it, and as Yeadon now turns 71, make sure you also don’t miss this excellent addition to the retrospective year.


Dramatic exhibition asks how much society has really moved on since the 80s

Before the Rain

Oh the irony. An exhibition of paintings criticised 34 years ago in a newspaper editorial as “smut not art” is now on show in the building where that editorial was written and printed.

What’s The Meaning of This? is the title of the ‘selective retrospective’ by John Yeadon, a show to mark reaching 70 and also look back at what may or may not have changed over the years. Is society more tolerant and open minded, is Coventry more enlightened and less provincial, he asks?

Leader article

The front page story of 1984 in which a Tory councillor raged against an exhibition of Yeadon’s paintings as “overtly pornographic” is put on show on the wall, alongside the editorial. The exhibition was called Dirty Tricks and was on at what Yeadon calls the high point of Aids paranoia and ‘gay blame’; he describes the works as allegorical Grotesque Realist paintings.

John says the exhibition of his works at The Herbert increased attendance 40 per cent afterwards. Some of the paintings from that exhibition are on show here in what was the paper’s last news room on its Corporation Street site, before it moved to smaller premises reflecting the decline of print journalism.

It’s a trip down memory lane for me after nearly 19 years spent working at the Cov Tel, though the newsroom moved within the Corporation Street building during those years so the critical editorial wouldn’t have been written in the same room where the paintings are now displayed.

However the room is perfectly proportioned for them, the largest ones fitting brilliantly almost floor to what was the ceiling; the low, oppressive false ceiling fellow journalists will remember has been removed to show the industrial spaces above and the blinds – always closed to stop glare on the computers – are now open. I’ve seen a lot of John’s works over the past 20 years but this earlier period of his was new to me and the dramatic works are stunning and mesmerising.

The Deluge

The Beach Party (before the rain) and The Deluge (after the rain) from 1981 and 82 (top and above) start the show, the first depicting men on a beach, frolicking and partying but in a strange contorted way, playing on a seesaw and dancing around, lots of them semi-naked. The Deluge is darker, literally and metaphorically, with one man being carried by others, their heads covered in bags; the fun is over.

Another painting from 1981, the year of the Charles and Diana royal wedding, the march for jobs and hunger strikes, is called The British Scene/summer 1981, and ironic British flags pop up all over the strange groups of people.

State Apartments       Boy Venus and Midnight of Freedom

Democratic Circus from 1982 features two panels, State Apartments and Assembly Rooms (above) , the official titles at odds with the depictions of men having sex, maybe showing what’s really going on behind the official scenes.

Suicide Street is another dark work, a man created from black intense swirls to show his outline and torso, with Zombie on Suicide Street written on it.

Boy Venus (Sunday Draws In) of 1987 shows a good looking naked young man starting straight at the artist, as another man enters the room through the curtains. Midnight of Freedom shows a naked black man crouched on a television, looking wary.

There’s also a whole corner of large paintings of naked men in various scenes.

Range of pics

John’s series of paintings of his family and his ventriloquist dummies aren’t included in this selective exhibition, nor his digital pieces concentrating on food and obesity (which also gathered negative press attention), but there are a number from his Englandia series, showing pleasant small paintings; a duck house to again reflect a political scandal of a few years ago, plus pastoral fields of English countryside, and other fields with human invasions of pylons and powerlines, railway tracks and windfarms.

Even more recent paintings – a Control Room at Sellafield, showing one man in charge of a bank of screens and buttons, and It’s Alive!, his 2017 version of a much older paintings of the WITCH computer at Bletchley – also feature.

I wouldn’t even think of trying to answer John’s questions about society and Coventry in particular and how it’s changed over the years. But after what will probably be more than half my working lifetime spent at the Coventry Evening Telegraph building it was interesting to visit for the last time before it’s conversion to a hotel and see in particular some works from an exhibition I wasn’t in Coventry for the first time around, and hope that such an editorial would never be written today.

Fascinating paintings to see too if you’re only familiar with John’s works from the last couple of decades – the show is on until June 14, Mondays to Saturdays 12-4pm.

Crafts of the Punjab are given showcase in Coventry exhibition

Golden Throne of the first Sikh Maharajah of the Punjab, Ranjit Singh

Take a cultural journey to enjoy beautiful creations from across the world, some of them dating back centuries.

The Herbert in Coventry is showing Crafts of the Punjab until January 21. It is a wide-ranging collection of pieces from the Victoria and Albert Museum in an exhibition put together specially for the gallery, with items from the second to nineteenth centuries. Some are by craftspeople from the region, whether Buddhist, Hindu, Sikh or Muslim, and others by colonialists who depicted what they saw at the time, and whose paintings serve as a useful historical record too.

The first items seen in the gallery are some lovely Buddhist stone carvings, including one from the second century depicting the infant Buddha’s first bath, plus a Bodhisattva Maitreya sculpture from the Swat Valley in the second-fourth century. There’s also a Buddha head carving from the third-fifth century.

The collection swiftly moves on to sculptures of Hindu deities Krishna and Balarama, amongst others from the ninth and tenth centuries, and small and delicate carvings of figures from the Jain religion.

Again there is a big jump forward in time, to the Punjab seen through the eyes of watercolourist William Carpenter in around 1856, with crowded street scenes in Lahore, and the mosque, all painted in attractive bright colours. The city in the 1860s and 70s is also depicted in monochrome pictures, capturing the mosque and the monument on the site where first Sikh Maharajah Ranjit Singh was cremated. Other photos depict 1870s Amritsar, site of the important Golden Temple which he renovated.

A section on Arms and Armour includes an early nineteenth century shield with small birds and animals engraved on it, and other intricately-patterned pieces of metalwork.

A textiles section includes a watercolour of various carpet designs, and some flower designs from 1905. There are nineteenth century clothes, beautifully embroidered, including one item with little figures and Muslim, Hindu and Sikh imagery combined, from 1835. Some items of furniture complete the exhibition, including wooden ones with inlaid ebony and ivory. The most dramatic exhibit is the Golden Throne made for the Ranjit Singh.

The exhibition briefly tells the history of the Punjab, through its ancient times, the reign of Singh, then the annexation of the Punjab to the British ten years after his death in 1839, and the fact that it’s now split between India and Pakistan. A lot of different areas of creativity are covered in the displays, which necessarily means they can’t go into depth but it’s a useful introduction to lots of art forms and types of detailed work, which could be explored in more depth presumably in the full V&A collection.



Nature Notes offer artists’ varying perspectives on the four seasons


Michala Gyetvai’s work L’après midi d’une faune

An exhibition inspired by the diary of a well-known local writer aims to explore local wildlife but also has something to offer for the art lover.

Between the taxidermied birds and animals in Nature Notes at The Herbert are artworks, a mixture of new ones and others drawn from the gallery’s store rooms.

The exhibition is described as uncovering the natural world and investigating how wildlife adapts and changes throughout the seasons. There are things to touch and smell, with interactive activities, as well as lots of natural history specimens. The exhibition is split into the four seasons, and there are artworks along the way depicting nature throughout the year.


Yellow Irises by Angela Brazil, © Independent Age and Women’s Careers Foundation

Angela Brazil, the writer of schoolgirl stories who spent most of her adult life in Coventry from 1911-1947, was also a keen watercolour painter of botanical subjects, and there are a number of her works in the exhibition. She also kept a nature diary, and it inspired the exhibition itself. Her works on show include detailed paintings of various types of fungi, wild strawberry plants, yellow iris, hawthorn, and closing with mistletoe and snowdrops.

Warwickshire-based textile artist Michala Gyetvai’s large thread and fibre on wool blanket work L’après midi d’une faune work was inspired by a walk in Hay Wood in Warwickshire, and also music by Debussy and a poem by Stéphane Mallamé. It is a swirl of greens, yellows, blues and purples and looks like nature at the midst of a weather storm.

Gillian Irving’s Summer 2 is a print with images on it including beetles, flies, wild and cultivated flowers laid out as on a specimen table. Margaret Taylor’s pencil drawings of buttercups and daisies are simple, clear and attractive.
Cora Perks’s Willowherb II from 1963 is an oil painting of this early-flowering plant, and a lively mix of red and white whisps.

Moving from summer to autumn, Chelsea Meadow’s lino printed paper from 2015 shows the clear lines of a fox, rabbit and mushrooms. Douglas Hatfield’s Duet or Duo is a dry point etching on paper of owls seeming to speak to each other. October in the Cotswolds is an oil painting by Wilfrid Hawthorn from 1949 of a girl walking down a village lane, with autumn rolling in as shown by some green trees and others where the leaves have already gone brown.

The Pike by Coventry-based Adie Blundell is a more recent work, involving marble, ink, and wood looking a bit like a traditional stuffed and framed fish, but with drawings on it.

For winter, the works include Snow in Tendring Park from 1958, a painting by Hugh Cronyn with the white snow contrasting with dark blue wintry trees and sky, painted with big splatters of colour.
Herbert Cox’s Snow Scene with Hedge is a small and pleasant 1910 painting, with cottages and trees.

In the centre of the gallery Orwell the Owl swoops, made by Chelsea Meadow with wings from old pieces of material, and the perch the base of a Christmas tree.

Whether you find the taxidermy attractive or not there are some interesting and detailed natural and botanical works in this exhibition to make it worth visiting anyway.


Angela Brazil’s diary, which was the inspiration for the exhibition © The Herbert

Sculpture in city church is a poignant return for Coventry artist George Wagstaffe

A Coventry artist has returned to a church where two pieces of his work already stand, to create a new sculpture which was blessed today.

George Wagstaffe has made a new water stoup for St Mary Magdalen Church in Chapelfields in Coventry, the ‘church with the blue roof’ on the corner of St Thomas Whites and Hearsall Lane.

An exhibition of his recent work including preliminary drawings for the design of the stoup, plus some older pieces, were put on show at a cheese and wine evening in the church’s Magdalen Centre, where George was also present to talk to parishioners about his work.

His works already in the church are a tall stand for the Paschal Candle, and a Mary Magdalen sculpture, which was dedicated on September 28 2003. George was working on this when the Twin Towers were attacked in New York on September 11 2001, and this influenced his work, with the bronze cast to reflect the light to appear as if she is weeping. A personal tragedy influenced his planning for the stoup, as during the 18 months he was working on it he was caring for his ill wife, and then mourning her loss.

Some of his paintings from this time reflect this, with previous motifs of a woman and horse returning, but now with the waters of separation flowing between them, and a trinity of trees on the hill, in one piece called Atonement.

George said the eventual design for the stoup, which is cast in bronze, represents the wood of the Cross, the sun and the moon which are a constant, and when worshippers dip their fingers in they are touching the thorns of the crown of thorns from the crucifixion. The design includes the constant flow of water, and laurel leaves.

The design is detailed and meaningful, and comes from deep personal feelings and a lifetime of work in Coventry, and fits in well with George’s two other sculptures in the church. It was blessed in a service at 10am today.

Strong Rooms are a powerful experience of history in the making

Strong Rooms have come to make their mark in Coventry this week, and call in for an illuminating experience

And enjoy them from what you find out, rather than focusing on the slightly confusing story of what’s behind them.

After a week in Rugby, two shipping containers are in University Square, opposite the cathedral steps, until Monday, July 18, for a project called Strong Arms. They seem to be part of a number of different things though  – a leaflet describes Strong Arms as a new project by artist Mohammed Ali and Soul City Arts, developed by Archives West Midlands and Arts Connect, the Bridge organisation for the West Midlands and Arts Council England Lottery Funding.

It’s also described in a press release from Crisis Skylight Coventry and Warwickshire as a project delivered with The Herbert Museum and Art Gallery as part of Art in Crisis 2016, with work by Coventry-based artists who have experienced homelessness.

However it is defined it’s an interesting dip into history and art in one go, with research carried out at West Midlands archives.

On the outside of one container, Ali has painted, in his graffiti, street art style, Dorothie Feilding, who was born at Newnham Paddox near Rugby, a child of the Earl of Denbigh, but who went on to drive ambulances in the First World War.

Inside one of the containers, he has painted six portraits of people from the West Midlands, some well known and others not. They include Samuel Coleridge-Taylor, the composer who had an African father, and Coventry-born Colonel Wyley who is well known for leaving the Charterhouse to the city, but I didn’t know he was the founder of the Coventry and Warwickshire Society of Artists in 1912. There’s also Emma Sproson, born in West Bromwich, who became a suffragette, and Scottish-born Mary Macarthur who led women chainmakers in Cradley Heath in a fight for a fair wage in 1910.

The floors and walls are covered with old, detailed maps of parts of the Midlands, and there’s also atmospheric sound effects, and a film of a poem being read in a field.

The other container shows works by Midlands artists who have experienced homelessness. There’s some ‘Lost’ posters, featuring various places on earth, including the Temple of the Sun, Baalbek, Syria, marked as “Destroyed”, and the Sphinx of Giza.

A desk has been beautifully customised with cut outs of tiny feet, flowers, with letters sticking out of the drawers and what look like fezs hanging from the ceiling. A huge collage of people and artefacts also brightens one wall.

There is a work, The Book of Known Thieves, 1895-1910, inspired by an archival document which contained information on 1,400 people from Aston in Birmingham who came before the courts in Warwickshire, and were recorded in it.

As a project to promote use of the archives it make a good point of what of interest can be found there; it’s a shame that (in Coventry at least) the opening hours and days of archives are being continually cut back to make it harder to visit and explore.

The Art in Crisis Coventry project continues with an exhibition at the Glass Box in the city centre from July 18-28, by Crisis clients who have worked with photographer Jamie Gray to explore the city, and Pride & Perusal at The Urban Coffee Company at Fargo from July 18-29, a mixed media exhibition celebrating the work of Crisis clients in Coventry in 2015-16.

Gosford Books is interesting venue for Sight Reading performance film installation


An installation in Coventry second hand bookshop Gosford Books is a feature of a conference being held in the city this weekend.

The Dance and Somatic Practices Conference 2015 has a free events programme running alongside it. One of the items is the installation Sight Reading from 2007 which can be seen in Gosford Books from mid-day until late tomorrow, Saturday, July 11, and from late morning until 2pm on Sunday, July 12.

Shop owner Robert Gill, who has run Gosford Books for 38 years, doesn’t possess either a computer or a TV so it’s a bit unusual to see the flat screen TV propped on top of a bookshelf, with the nine-minute film playing on DVD. But there are two stools – of vastly differing heights – where you can perch to watch the film.

Sight Reading, made with an Artsadmin bursary, was apparently inspired by artist Lucy Cash’s chance finding of a second-hand book, which led her to explore how particular forms of somatic skills might destabilize our relationship to the world around us.

The information leaflet explains it: “As a film Sight Reading offers the viewer a cycle of performative gestures which deliberately evoke a strange, dreamlike sensation of synthesia through collaging re-enactments of ‘eyeless sight’ experiments with a choreographed exploration of an eclipse. The soundtrack includes a partial rendition of Eric Satie’s Vexations by Finnish pianist Timor Fredriksson.”

Sitting amidst the shelves, watching the screen and listening to the soundtrack through headphones it’s certainly unnerving to see people in the film, their eyes covered, but ‘reading’ through their arms. It’s certainly likely to be the strangest art event in Coventry this weekend……

* There are also glass photographic slides and writing on show at Drapers Bar, and limited edition posters available from the Rising Café from the Rubble at the Cathedral.



Photographic exhibition captures different views of city life

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A small exhibition tucked away in the centre of Coventry celebrates city life in several different facets.

The exhibition, on the first floor of the Belgrade Theatre, is the work of 11 keen photographers, who each show three images under the title of City Life. They were challenged with interpreting that title to capture their city’s people, nightlife and environment, though some have chosen Birmingham or London instead of Coventry. It’s interesting to see the similarities and differences between the pictures.

Primary in city centre

Jim Harris pictured the large Primark building against a bright blue sky with the brutalist architecture and large open spaces in front giving it the stark appearance of an eastern European city in the communist era. Another shot looks down as two women sit separately near the escalator in the Upper Precinct, both alone with their thoughts or their phone. Jim said he was fascinated by the triangulation in the paving and an incongruous traffic cone (both works above).

Kim Slater’s images are attractive black and white ones of people walking on the cobbles of Hay Lane. In one, an old man looks at the ground, and in another a man looks down at his feet as if he’s stumbled, and another shot captures a walker at a lower level. She said it was only now they are on show together, she sees as well as the area which she likes, they all involve a concentration on people’s feet.






Tony Skipper has captured a colourful vegetable stall on the market, a street performer framed between passing pedestrians, and a cheeky monotone image of a young man, baseball cap pulled down as he poses with his skateboard next to a ‘no skateboarding’ sign (above and below).

Market stall


Rebekah Mason’s three images show dramatic graffiti art at the Custard Factory in Birmingham (one of them, left), and Maria Ahmad’s London photos include some pretty flowers, in front of a sleeping homeless man. Angela Haworth also concentrated on a London train station, taxis in a row and bicycles also lined up, while Craig Simpson’s three images show increasingly blurred images of buses going by, one cleverly capturing the bus framed between flashing beacons on opposite sides of the road.

Kelly Upton concentrated on the Flying Standard pub and the surrounding area in Coventry city centre, Caroline O’Hagan on grand buildings in Coventry and further away, Tommy Byatt on people and the area around the cathedral, and Magdalena Tomczyk has photographed night scenes of Coventry, which with the blurring lights make it more exciting than the reality.

All the photographers are evening class City and Guild Level 2 Photography & Photo Imaging students at City College, showing the high standard of work produced by the students taught in Simon Derry’s class. The exhibition is free, and on until June 20.



Designer of Coventry post-war icons is featured in exhibition – discovered by chance in Leeds

So, my first ever visit to Leeds, for a job, but of course I had to get there early so I could visit the city art gallery.

And just as predictably for me when trying to explore new places, the upper galleries were closed for work, but a wander into the attached Henry Moore Institute produced a surprising and enjoyable find. An exhibition about the work of Dorothy Annan and Trevor Tennant whose work I had seen repeatedly over the last twenty-plus years without ever knowing it.

Everyone who’s ever stopped to look at the Godiva Clock in Broadgate will have seen Tennant’s work in the Godiva figure which rides out every hour, and the Peeping Tom which watches her. There is a lovely photo of a long-lost Broadgate with the Godiva statue facing the clock and people sitting on grass to watch it being unveiled.

If you turn the corner to Broadgate House, those are also his carved figures displayed on it. Entitled People of Coventry they are supposed to represent people in a timeless feeling of continuity, an important aspect to the post-war rebuilding of the city. Broadgate House was a key part of Donald Gibson’s plan for the rebuilding of the city centre, and included in the exhibition is some correspondence between architect and sculptor. There’s also a great picture of Tennant working on the relief figures on a blitzed site in London’s Regent Park.

He also created the Levelling Stone of the Phoenix which now resides in Coventry, and a brick carving of a falcon which is described as being on the side of a Coventry junior school – though it didn’t say which one.

A fascinating series of photos also show Tennant giving a sculpture demonstration at Coventry Training College in 1947, creating a model of a woman sitter’s head in front of a live audience, seemingly all male, who are also shown peering closely at the finished work.

Trevor Tennant and Dorothy Annan were members of Artists International Association (AIA), a left-wing group established in 1932 whose aim was “Unity of Artists for Peace, Democracy and Cultural Development’. They were based in Leamington during the Second World War where they were also members of the Artists and Designers Group and worked on public commissions, influenced by their membership of AIA.

Dorothy Annan’s post-war work included a mosaic entitled The Good Earth for the Rugby Road Junior School in Leamington, an oil on brick mural design produced by the Artists and Designers Group, and showing a combination of industrial and pastoral scenes.

There are also images of her designs for the Neptune Tea Bar and another room at the Finham Park Hostel in Coventry in 1942.

This exhibition also covers the pair’s commissions in London and other parts of the country. Their Dorothy Annan and Trevor Tennant archive joined the Henry Moore Institute Archive of Sculptors’ Papers in 2012, donated by their family. This exhibition brings together photographs, sketchbooks and exhibition catalogues to give a chronological account of their practices and show the role of art in British society post-war. It’s on until March 1 in the Upper Sculpture Study Gallery, and I was glad to have found it.

* I also visited Yorkshire Sculpture Park, though with a bit of a mist about it possibly wasn’t the best day for it. And luckily I had the wellies in the car as it was pretty muddy and slippy and I was mindful of a friend who fell and ended up with a broken arm after a visit! The whole site was too big for me to do it justice in the time I had, but I’d like to return another time. Enjoyed seeing several large Henry Moore sculptures in the landscape, plus Anthony Caro’s large Promenade row of sculptures, Ai Weiwei’s Iron Tree, which was outside the Chapel and Julian Opie’s Galloping Horse lightbox work racing through the gloom.

Inside the chapel was also Nick Crowe and Ian Rawlinson’s Song for Coal, an “immersive audio visual work” created to mark the 30 year anniversary of the miners’ strike. It’s pretty impressive as music and visuals combine to form a stained glass window appearance of miners and their lives on the chapel wall.

An island on the lake also caught my eye – loads of herons perched on nests and flying around, closer than I’ve ever seen them, and near enough to hear their flapping wings. It seems a great place to combine the man-made and the natural in a day out.

Arty-Folks stage Tibetan influenced exhibition


Art inspired by colourful mandalas made by Tibetan monks is on show at Coventry’s Central Library.

The drawings and glass paintings were made by members of Arty-Folks, a group for people recovering from mental health problems.

Art tutor Lorella Medici said the works describe how the person feels about themselves in relation to the world around them through patterns, mark making, textures and colour. The works have been inspired by the mandala, which in Sanskrit means circle. Mandalas are spiritual and ritual symbols in Hinduism and Buddhism, representing the universe.

Lorella said: “Our minds are always busy seeking solutions for our many problems.  Making these mandalas has helped people to concentrate on creating beautiful and meaningful artwork, and to give their minds a rest.

“Tibetan monks create intricate mandalas as an aid to meditation and to help stabilize and re-order inner life.  Arty-Folks uses the visual arts in a similar way to help people on their recovery journey. ”

Jean who is one of the people exhibiting says: “I used to believe that art is just for people who are very creative, imaginative or skilled. I started coming to Arty-Folks after I lost my mum and it motivated me to get out the house at least once a week.

“I never saw myself as an arty person but I just got totally caught up with all the different things Arty-Folks introduces me to.  Now I enjoy art because it helps me to communicate and to connect to others, and I have fun experimenting.”

The display includes as step-by-step instruction on how to create your own mandala art.

Arty-Folks meets from 12.30-2.30pm on Wednesdays at the Artspace Studios, 15 Lower Holyhead Road, Coventry. Anyone interested can pop in on a Wednesday, or call 024 7641 4740 for more information. The exhibition at the library is on until November 16.

Also see and Arty-Folks on facebook and twitter.