Opening Hours

Monday: Closed
Tuesday: 11am – 5pm
Wednesday: 11am – 5pm
Thursday: 11am – 5pm
Friday: 11am – 5pm
Saturday: 11am – 5pm
Sunday: 11am – 5pm

Please note the House opens at 12pm, with last entry to the House at 4.20pm

Kettle’s Yard will be closed between 23 December 2021 – 3 January 2022 inclusive.

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+44 (0)1223 748 100
mail@kettlesyard.cam.ac.uk

 

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From May to August 2014 fourteen paintings and one sculpture by Vicken Parsons were displayed in the Kettle’s Yard house. This new publication about the display includes photographs by Belinda Parsons, texts by Jim Ede and Andrew Nairne and poems by Kathleen Raine and Emily Dickinson.

Read an extract by Andrew Nairne, Director, below.

Entering the extension from the cottages, a painting by Parsons is hung above a work of a similar scale by the Italian artist Alberto Burri. The right side of Parsons’ board is painted over in deep brown, like a curtain or shadow covering the tentative drawing of an interior space that can be seen beneath. Placed here, it complements and renews attention in the play of light and dark to be found in both the Burri
and the adjacent large painting of Indian temples by William Congdon. Looking across to the far end of the extension 
a blue rectangle can be spotted, almost glowing, in the distance. This work by Parsons, and an even smaller orange and white painting around a corner, have been leant up on top of the library bookshelves. Here Jim Ede arranged a remarkable array of disparate art and objects including sculptures, feathers, ceramics by Bernard Leach and Katherine Pleydell- Bouverie and a rock crystal. The palette is of browns, whites and blacks, so the compelling powder blue and tangerine orange of the two paintings is a surprise, visually connecting with the colour of art books below rather than with their neighbours.

Of course placing new art in the house is a risk. But I think Ede would have welcomed the temporary presence of Parsons‘ work, quietly encouraging us to consider new visual relation-ships. He would have admired the intelligence and ambition of these paintings too; their sense of purpose and visual power out of all proportion to their scale. Above all he would have recognised that rare ability to transfix us with the reality and beauty of paint and colour while opening up worlds of possibility and feeling.