Eastgate Studio Visit

A Detour to Beverley: Eastgate Studio

I haven't visited Beverley since I studied philosophy at Hull University—a lifetime ago. So when my work was selected by Susan Leeson for the "Eastgate Collection" exhibition at Beverley Studio, I was delighted. I already had commitments on opening night, but managed to make a detour on the way back from a visit up north.

I'm so glad I did.

Sunshine greeted us, and the Minster looked commanding, its honey stone glowing against the blue autumn sky. I've always had a soft spot for Edwardian town house architecture, so we did a bit of imaginary house shopping before finding the gem of a studio tucked away.

And there, hanging in the window, was one of my bowl prints. How proud did I feel!

In fact, there's another one inside in the window too, plus some unframed pieces in the browser. I'm in excellent company on those walls, and I urge you—if you can—to visit and see pieces by some of my favourite printmakers. While we were there the sky decided to change colour palette and it snowed - so there was cheers from the kids on the street and us bigger ones inside the studio too.

"Eastgate Collection" Exhibition of Print

Saturday 1 November 2025, 11:00 – Saturday 6 December 2025, 16:00

Eastgate Studio,

11 Eastgate,

Beverley,

HU17 0DR,

England

It's a small space spread over several floors, yet every centimetre—we went metric in '71, after all—has been used to its best capability.

There are supplies, original prints both framed and in browsers, and the warmest of welcomes. We were treated like old friends; tea and a long chat were offered immediately. I enjoyed close-up views of work by printmakers I know and others new to me.

Highlights included seeing work by the nearly infamous John Peder, who designed the poster, and Angela Hall, from whom I bought silkscreen prints long before I owned my own press.

Otters spoke to me from the walls (the print is by Caroline Foxton), and there was a great conversation with one of the printmakers about them being obsessed with seahorses.

Deb Wing's scenes using reduction lino—a technique that always blows my mind with its complex, backwards thinking—were stunning.

An Albion press sits happily in the corner, a contented presence. Next to it was a linocut by Phil Jenkins, whose work was new to me, but I adore the perspective and, well, everything about the piece After Autumn Rain. A single leaf and ripples from rain fill the frame, yet there's space enough to keep the piece airy and breathing.

The printmakers using the facility were generous with their time, and the conversation flowed easily.

This is what printmaking communities do best—hold space for each other, celebrate the craft, swap inky love stories, welcome newcomers and old hands alike.

If you're anywhere near Beverley before December 6th, make the detour.

You won't regret it.