Tributes to Hockney

I popped into Salts Mill the other day, just for a browse around. There were a number of lovely photos of the artist David Hockney, who died recently. As you'll know (at least if you've been paying attention!), he was a personal friend of the late Jonathan Silver.

When Jonathan bought Salts Mill in 1987, after it had closed as a textile mill and was in danger of dereliction, it was quite a gamble. It's easy to look at it now and accept as a matter of fact its artistic and commercial success, but that was by no means guaranteed. It was a stroke of genius to persuade Hockney, a Bradford-born lad, to lend some of his paintings to create the 1853 Gallery, and then to start buying some of his work. The mill now holds the biggest single collection of Hockney's art anywhere in the world.   

Hockney's death, though not unexpected I suppose at age 88, has been greeted with profound sadness locally. The tribute (below) from the owners and staff of Salts Mill conveys most eloquently what he means to us all. 

It is always wonderful to walk through the mill among all the vibrant and varied artworks that Hockney created, and was still creating more or less up to his death.

Every time I visit I see pictures that I don't remember seeing before, though the large painting that was David's homage to Salts Mill and Saltaire still takes pride of place in the mill's main entrance. 

Martin Parr

 

Another repost, a flashback to ten years ago when I visited The Hepworth in Wakefield :

'Everything in The Hepworth is worth seeing but I especially went along to view the current exhibition of the photographer Martin Parr's work. It is entitled 'The Rhubarb Triangle and other stories'. At its heart is a new commission of photographs of the famous 'rhubarb triangle', an area near Wakefield that specialises in growing the sweet and delicate Yorkshire forced rhubarb, grown in dark sheds and harvested by candlelight. Alongside were many of Martin's other photographs, among them his documentary series focussing on the seaside and the middle classes in the 80s. If you don't know his work, do look him up. He manages to be both funny and poignant, and some of his images are a scathing commentary on life in Thatcher's Britain towards the end of the twentieth century.

The wonderful collage shown above is called 'Common Sense' - highly saturated images of 'bits and bobs' of life in the 90s, wonderfully kitsch and quite bizarre but somehow a fascinating archive.

The four people were watching a video about Martin Parr, listening through headphones. Every now and again they'd all guffaw with laughing, which added to the slightly odd feeling, since I didn't know what they were laughing at.'

It's poignant now, as Martin Parr died in December 2025. He was the same age as me... That's quite sobering. 

RIP David

I’m saddened to hear of David Hockney’s death. (Perhaps not surprised given his well-known smoking habit, though one could have imagined he might have made his centenary, he was such a stubborn chap and such a lively mind.) 

Ironically, today, I was intending a post about Martin Parr, another great artist (photographer) who died in recent months. I’ll save that for another time. Just now I’ll use this space to say my own ‘thank you’ to David Hockney, for the pleasure his work has given me over the years, for his legacy to Bradford (his home city, where he attended Bradford Grammar School and Bradford’s art college) and for his championing of Salts Mill. He was a personal friend of the late Jonathan Silver, the mill’s rescuer and reinventor after the textile business closed. It’s in a large part thanks to the priceless Hockney works and exhibitions that Salts Mill holds that the mill - and Saltaire - are ‘on the map’ and draw visitors. Hockney turned down a knighthood in 1990. He always was a radical, a non-establishment guy, but I actually think it’s sad that he isn’t publicly ranked among our creative ‘Sir’s.

Ironically I’m away this week and don’t have access to my photos, so I shall have to try and work out how to illustrate this with a suitable image. Whether I manage that or not, I say: Rest in Peace David Hockney, paint heaven in all its glory. And thank you for your brilliant, curious, irreverent mind and all the beauty that flowed from your skilled hands through all the media you experimented with. You’ve greatly enriched my life and I shall always be grateful for the privilege of being able to see your artworks in our mill. 

More of my art works

More of the artworks I have in my home...

The first image is a photograph by a Yorkshire-based photographer, Lizzie Shepherd. Called 'Broken birch, Hodge Close', she says: 'This damaged birch tree, with its wonderful mix of colours and form immediately caught my eye when exploring near Hodge Close Quarry in the Lake District. It was an overcast day, with soft light and low cloud offering the perfect conditions for woodland photography. Hodge Close, Cumbria, England.' 

Lizzie is brilliant at making sense of complicated woodland scenes, as well as mastering landscapes in general. I've long admired her work. I've had the good fortune to attend a couple of her workshops and watch some of her presentations to my camera club. I've been inspired by her and have learnt a lot from her, as well as enjoying her company. I bought this print when she offered it to raise money (as far as I recall) for a fellow photographer who'd had a serious accident. So for me that was a double bonus. 

I display it alongside a small print that I bought from the Skipton 'Art in the Pen' exhibition years ago. It's a painting rather than a photograph but it seems to me to echo some of the same qualities and tones as Lizzie's image. I had it framed and it's so well sealed that I cannot now see any label with the artist's name, which is a bit silly as I can't recall who I bought it from! I do like it though. Both of these pieces have given me pleasure for several years now. 

Extraordinary Portraits 2026

Following the success last year of 'Extraordinary Portraits, with Bill Bailey', the 2026 series is on display in Bradford's Loading Bay gallery space until July. I went along with a friend for an early look. The BBC TV programmes each match artists with 'ordinary people who have done something extraordinary', to create a portrait. Having watched all six episodes on TV and been moved and uplifted by the stories, it was a delight to see the artworks for real. 

The standout painting for me was this one (below) by Jack Dickson. It depicts Seema, who ran a local Post Office and became caught up in the Post Office scandal, a gross miscarriage of justice where many people, over many years, were wrongly charged with false accounting (which turned out in the end to be a faulty computer programme). In Seema's case she was wrongly convicted and sent to prison whilst pregnant. The subtly layered painting has many symbolic references to her life, including a layer of postage stamps at the base. She is depicted standing tall, proud and beautiful, in a huge but quiet statement of strength and resilience. Wonderful. 

I also enjoyed the bold statement made by the portrait of Eddie aka 'Iron Gran', a lady who - at age 72 - was the oldest British woman to compete in an Ironman event and now runs a charity promoting fitness and companionship for older people. Painted by Caroline Pool, it shows strength and Eddie's fun-loving persona but also a moment of reflection. I loved her sparkly manicure!  

Two brothers, Jordan and Cain, painted by Unza Saleem, lost their mother at a young age due to a rare form of dementia and have since found out they both carry the same gene and are likely to develop the disease in their 40s. They are now channelling their energy into raising funds for dementia research. 

Two sisters, Grace and Amy, share an unusual bond. Grace was born without a womb. Amy donated her own womb to her sister, in a pioneering operation, enabling Grace to become pregnant and carry a miracle baby. The sensitive portrait by Karen Turner captures their special relationship of love and sacrifice. 

The artwork I expected to like the most turned out, for me, to be somewhat disappointing. The sculpture, by Nick Elphick, refers to the heroic act in 2019 when Darryn, a civil servant attending a prisoner rehabilitation conference in London, helped to apprehend a man who attacked and killed two people. Darryn grabbed a narwhal tusk off the wall and used it to fend off the terrorist, before grabbing his wrists to try and disarm him. Though his actions were heroic and he was awarded a gallantry medal, the aftermath was difficult and has had a life-changing effect on him. Nevertheless he dedicates his life to rehabilitating former offenders. 

It is in many ways a commanding sculpture, using the Japanese art of kintsugi - accentuating and healing broken pottery with gold - and including the narwhal tusk. The 'gold' appeared simply to be painted on rather than actually holding the cast together. The lump on his shoulder, which I think was intended to signify the burden he still carries, just looked to me a bit odd and the inclusion of the huge tusk, though symbolic, meant he appears to be standing in a box! Not only that but to me it doesn't even really look like Darryn, who is an extremely handsome young man. So, not a complete success in my eyes - but powerful nonetheless. 

The other one I didn't much like was a portrait by Ricky Wilson, of Lindsay who runs a rescue centre for exotic animals in Wales. It does actually carry a sense of her energy and the wild dedication that she brings to her work but I didn't like the random, coloured brushstrokes across her face. 

Alongside the exhibition you could watch a video of clips from the programmes or paint your own picture on acetate by tracing your face in a mirror. Many of those self-portraits were a lot of fun. 

 

Baba Yaga's Hut

Our little Hirst Wood Nature Reserve has become the home of Baba Yaga's Hut. Baba Yaga and her enchanted hut on chicken legs are an established part of Slavic folklore. She is a mysterious witch, an old crone who roams the woods in her hut on chicken legs, looking for 'bad children'. She's rather fearsome and unpredictable but also a teacher, protector and wise guardian of the forest, offering refuge and answers to those who show wit and respect. There's a helpful analysis of the tale's origins and meanings HERE.

Our Baba Yaga hut has been crafted by the workers in Baildon, Shipley and Saltaire Men's Shed, supported by Bradford 2025's Our Patch programme. It's then been decorated by the Women's Sphere group, which works to support and empower women in our local communities who originate from Eastern and Central Europe. The wonderful elves were crafted by Homey Elves.

I just happened to be passing as they were setting up for the 'grand opening', so I took the opportunity to have a chat and take a few photos. It's so lovely when people come together to create a little magic. 

Arts Trail Day 3

 

Day Two of Saltaire Arts Trail was sadly marred by awful weather, very wet all day. Happily, I had other plans so I gave it a miss. Day Three was dry, though overcast, so at least the visitors didn't get drenched and the venues didn't have to contend with dripping coats, brollies and wet shoes. 

There was a Makers' Fair in the Victoria Hall, but I didn't explore that. They tend to be much the same year on year, and so much art and craft can be overwhelming, I find. I didn't want to be tempted into buying anything either and, if you're not on the lookout for a purchase, it never seems so meaningful. There seemed to be plenty of visitors though and I spotted lots of folk coming away with bags and boxes of goodies. 

I was more interested in the photography exhibition in Salts Mill's roof space, which was showing work by members of Leeds Photographic Society. There were some attractive images, though mostly in the familiar style of 'camera club competition' entries. I enjoyed the landscapes and some of the creative images.

Nina Hunter, an artist, illustrator and art teacher who lives in Saltaire, opened the Saltaire Art Gallery on Victoria Road a few years ago. She also founded the Saltaire Art School. The gallery seems to have evolved and is now 'Nina Hunter Gallery and Collectors Lounge', where she shows her own work and some carefully considered collaborations with other artists. Much of her work celebrates the feminine and mythology. I like the softness and mystery that she creates, which is at the same time quite powerful. 

Her current exhibition is 'Elysium' - 'a paradise of myth, imagination, and beauty... a world of paintings, embroidery, floral arrangements, and sound that celebrates the boundless possibilities of creativity.'

I loved her own painting in the window, though there were too many reflections (and writing on the window) to show it off well. I could quite happily live with that one on my wall!

In the room at the back, a sunny, yellow, expressive abstract by Clare Ninham sat rather nicely above the Victorian fireplace. 

The Gallery's basement had a series of paintings by Oliver Walton: 'The Common Place'. Deliberately counterpointing the other exhibition, these were precise depictions of 'the poetry of everyday spaces' - the kind of subject you more often find explored through photography than paint. NOT the kind of thing I'd hang on my walls but thought-provoking nevertheless, and it was interesting to see our local environment depicted in this way. 

Arts Trail Day 1

Saltaire Arts Trail traditionally spans the early May Bank Holiday weekend, seeing many of the houses in the village transformed into mini art galleries on the 'Open Village' circuit, with various exhibitions in the larger venues.  

One of the bigger houses on Albert Road belongs to David Starley, a well-known artist who also runs the Bingley Gallery. He was exhibiting his own paintings, plus various displays from other artists. There were some lovely turned wood pieces from Mike Bentley and ceramics by Kath Bonson. I also enjoyed the display of older paintings of the local area, which David collects and sells through his gallery. They included these watercolour miniatures (below) by John Butterfield (1913-1997).

The Wash House Gardens held colourful digital art by Ellie Hawkes, some printed on translucent perspex discs.  

In the grounds of the United Reformed Church, Luke Thompson was demonstrating some live painting in oils. 

Atkinson Grimshaw

A brief 'summer' rapidly turned wintry again, with 10ºC difference in the temperature between one day and the next! Plus wind and rain... so I hopped on the train to Leeds civic art gallery to catch an exhibition that will soon be closing. I couldn't resist an internal shot of the gallery itself. The bright, modern mural contrasts interestingly with the classic white interior of the next room. 

The exhibition was 'Don't Let's Ask For The Moon', featuring work by the Leeds-born Victorian artist John Atkinson Grimshaw [1836-1893]. (A more Northern name would be hard to find!). Atkinson Grimshaw specialised in 'Nocturnes' - twilight and moonlight pictures - which brought him great commercial success. Many were waterside scenes on the Thames in London (below), Liverpool, Scarborough, Glasgow and the Aire in Leeds.   

On display were several Leeds scenes that I've not seen before.  'Boar Lane, Leeds by Lamplight' is evocative of the wet streets, slightly misty evening air and the gas-lit shops, with the lights of a steam tram halt in the distance. 

I really liked 'Tree Shadows on the Park Wall, Roundhay Park, Leeds', with the lone figure telling quite a story, I thought. 

Most of his work was landscapes but he also painted a series of works depicting mythical fairy-like creatures, including 'Iris, messenger to the Gods'. Here he was able to pursue an interest in mythology, a serious classical subject, sanctioning his painting of erotically charged nudes. No doubt they made him money too! 

I loved 'Snow and Mist' (below), which was much lighter and more minimal, one of the last paintings he completed. Overall, it was an enjoyable exhibition. I like his paintings, though they don't quite rank in the 'thrilling' category of art, for me. 

Jim Moir - Neo Fauna

The new exhibition in Cartwright Hall is 'Neo Fauna' by Jim Moir, a prolific artist more widely known as comedy legend Vic Reeves (part of the Reeves and Mortimer double act with Bob Mortimer.) 

I enjoyed the exhibition very much.  It's hugely varied, with some wildly colourful images, many of them birds, like the long -tailed tits below:

and the well-observed Black Guillemot Frenzy: 

Then there are much more understated but again beautifully observed watercolours. I particularly liked the quartet of curlews: 

'Barn Owl in a woodland' was looser and more impressionistic, and full of atmosphere. I also enjoyed the magpie (below). There are many of them in the trees round where I live and he has captured their 'essence' really well here, I think. Apparently, since he retired from comedy and became a full-time artist, he paints in the morning and then goes for a walk in the afternoon, closely observing the birds and the details of their appearance and behaviour. That careful attention really shows in his work.

Studies of dancers and birds imaginatively echo their movements.

Then there were more surreal and highly coloured offerings, like 'The Exhibitionist' (below) and some rather odd, distorted studies of 'American Couples', which I didn't warm to at all. 

It's rare that you see an artist with such a broad range of styles. I wouldn't normally show so many but felt I needed to do them justice. The exhibition is on until the end of August.