Sebastian Palmer, Trees, 1988

Poetry, painting and sweet, sweet music… but not necessarily in that order.  Jools Heyes

After completing an arts degree in the late 1980’s all I knew was that I wanted to write poetry, write about and make art, and be a musician. Overwhelmed by the im/possibilities of doing all three at once, and needing an income, I found work in Cambridge galleries; one of these was Kettle’s Yard, Jim Ede’s iconic art-house.

I started out in admin, but quickly became involved in live-guiding, editing catalogues,  writing for magazines, and even doing the odd radio/TV interview. I was lucky and I was excited. KY house itself was carefully ordered by Jim, and preserved faithfully by the University after his death, like a meditative time capsule in homage to balance, light, harmony and order. But the early 1990’s was an anarchic and restless time, and the curators wanted to fully express this by putting on challenging shows in the attached postmodern gallery. This juxtaposition provided the ground for some interesting dilemmas and sparky debates – as well as some great shows.

Surface Values was a show foregrounding a new wave of painting. It was not the most controversial of KY shows, but it had an ‘edge’, and I reviewed it for Art & Design Magazine. Here’s the article, pulled pretty much straight from the pages of my precious old, flood-damaged copy of the magazine.   Jools Heyes   Read article.

I also interviewed Karolina Larusdottir, who exhibited beautiful and fascinating paintings of  ‘ordinary’ angels at CCA Galleries, where I also worked for a time.  Jools Heyes   Read Article.