Hidden voices: cornwall gallery unearths britain’s forgotten female artists

A groundbreaking exhibition at Penlee House in Penzance is finally giving long-overlooked British female artists the spotlight they deserve, challenging the gallery’s historic bias towards male creators.

A sea change for cornwall’s art scene

For decades, the collection at Penlee House has largely reflected a skewed perspective, dominated by male artists. But starting this Thursday, visitors will encounter a vibrant and compelling array of works by some of Britain’s most significant women painters – a deliberate and powerful shift.

The exhibition, titled ‘Making Her Mark,’ features pieces by Tracey Emin, Barbara Hepworth, Laura Knight, Elizabeth Forbes and Gillian Ayres, among others. A notably arresting Tracey Emin piece – ‘I Loved My Innocence’ – commands attention above a marble fireplace, while Hepworth’s ‘Features, Fingers, Foot’ hangs prominently across the hall.

Curator Katie Herbert admits, “We may never see a Tracey Emin here again,” a poignant reflection on the systemic inequalities that have historically marginalized female artists. The collaboration, involving galleries in Worcester and Kirkcaldy, Scotland, represents a significant step towards addressing this imbalance.

The project, funded by Art Fund’s £5m Going Places program, is more than just a display of Art; it’s a conversation about access, opportunity, and the silencing of women’s voices in the Art world. Early hurdles included navigating the logistical complexities of coordinating pieces from multiple institutions – notably, the unexpectedly large size of Imogen Bright Moon’s tapestry, initially sourced from Worcester.

Herbert highlights a crucial element: the restrictions placed on women’s access to Art education in the past. “They used each other as models,” she explains, referencing the private portraiture practiced by artists like Dod Procter and Eileen Mayo, who were barred from life classes.

The exhibition also delves into the emotional impact of these barriers, exemplified by Lys Hansen’s ‘Features, Fingers, Foot,’ a deeply personal depiction of a woman’s struggle against societal expectations. The work powerfully illustrates the feeling of being steered towards domesticity.

But the story doesn’t end with the past. Kate Turner, a local artist collaborating on the project, created a protest banner alongside care-experienced young people, directly responding to the themes explored in ‘Making Her Mark.’ “Female artists continue to face challenges,” Turner asserts, “and these issues remain incredibly relevant today.” The banner will be permanently displayed at the gallery.

Gracie Divall, program lead for Going Places, emphasizes the transformative potential of this collaborative initiative. “It’s exciting that new relationships are being forged across the country.” The project extends beyond the exhibition itself, exploring heritage crafts and the experiences of refugees, fostering a wider dialogue about inclusivity and artistic representation.

Ultimately, ‘Making Her Mark’ is a testament to the enduring power of Art – and a vital reminder of the stories that have been deliberately obscured for far too long. It’s a moment for Cornwall, and for the UK art world, to acknowledge its past and embrace a more equitable future.”n