Clare Carswell and Peta Lloyd: The self-proclaimed biddies still pursuing their art
After discovering that the art exhibition, ‘Bolder’, by the intriguingly named ‘Biddy Boost’ - a group of older women artists - would be happening at one of my university buildings, I decided it would be a rare opportunity to see art on my doorstep. Being the end of January and 6pm, walking down to the Richard Hamilton on opening night it was pitch black, but I made my way towards the glow of lights and promise of warmth, and was met with it immediately – in two ways.
Thankfully, it was physically warm, but it was also warm with life. Immediately, there was the sound of bustling people mulling about the exhibition, and it felt like I had entered a community. Observing the pieces, it was striking to see such a range of mediums; textiles, found object sculptures, pencil drawings that dominated the walls and even the captivating spoken piece ‘The Fable of Oxford’ delivered by Annie Wright.
I left feeling excited by what I had seen and, looking into the eyes of a super-granny aboard a rocket that was on the exhibition flier I had been given, I decided I had to know more about this alluringly named ‘Biddy Boost’ collective.
So, I got in touch with its founders – artists Clare Carswell and Peta Lloyd – to find out more.
Clare begins by explaining that she has an extensive art background, being a practicing artist and curator since her graduation from the Royal College in 1988. Peta, however, had a different start to her art journey, beginning after her teaching career with an opportunity to do a part-time foundation course at Oxford Brookes, explaining that with your life’s passion “you can often find a way to do it, but you have to really want to do it.”
Following the foundation, an MA and PhD, Peta described being “let loose” without a plan. However, being aware of Clare’s work already, she reached out to collaborate, resulting in their first event together, “BIDDY”, in 2022 at Fringe Arts Bath. It was here that Clare recalled the pair being “astounded” by applications they had from women “all over the world”, who were “excited and keen to take part” in the project.
With a global response, the pair knew there was more to be done to celebrate the work of older women artists, leading them to found the Biddy Boost professional development group in Oxford. Peta says here they can develop their practice, whilst discussing it with people “that actually understand.” For the group’s name, they considered many terms to describe older women but settled on Biddy - a derogatory term associated with being nosy or a gossip - as a way of reclaiming it.
Speaking about their exhibition at the Richard Hamilton building, they said it was “heartening” to see so many people make the journey to see it, and that they made good links in the art department. Clare also found “it was the students that were so appreciative” to see art on the walls, and said she believed it served as a reminder that their practice “doesn't exist in the rarefied atmosphere of academia for very long”, with the real work starting when “you walk out of these doors”.
Clare described that for older women artists, standard challenges “arguably almost increase later in life”, explaining that even now responsibility for nurturing, caring and domestic work “still falls to women”. Being an older art graduate also presents its own unique difficulties, as she explained that though you may have “loads of life experience”, you're still a “new graduate” without the years of work and development of someone that graduates in their 20s.
She believes “the question needs asking of art institutions” what they envision is possible for older artists when they offer them degrees in the same model as they do to younger artists. In light of what she describes as “very, very few” opportunities for older graduates, Clare wonders what expectation there is for them to be “fruitful” and “productive” with “the pleasure of exhibiting their work and reaching an audience”.
The pair also highlighted that galleries and curators need to be more considerate in their accommodation of older artists during exhibitions. Though the art world can be “brutal”, with everyone “stressed beyond belief” and a common expectation for people to work “to the point of exhaustion”, Clare asserts “it’s not right” to expect this of older artists. She asks galleries to “imagine it’s your granny”, whom you would not ask to work “silly hours” and “travel huge distances” whilst funding it all from her pension.
According to Clare, it is also important to celebrate the unique experiences of new older artists, saying that whilst the decisions they've made are “radically different”, “it doesn't mean that their voice is any less valuable”, in fact, these are the people “we should be hearing from”. Regarding the art world in general, she acknowledges that whilst it is “a positive time” with top curators in the country being women, observing progress “depends on what kind of woman artist you are talking about”, as artists like Isabella Ducrot, Marina Abramovic and Yayoi Kusama are “tall poppies” after which she struggles to name many more.
Going forwards, Clare is applying to do an MA by Research into the quality of older women’s experiences in art education and the representation of this in the gallery system. In regards to hers and Peta’s collective future, they want to focus on “putting on larger events”, as both feel there is still much to do to give “visibility and voice” to their group’s artists, themselves included, and set their sights of “London first, then global!”. For Biddy Boost, the next phase is encouraging the group to be more “autonomous and independent”, with a particular focus on up-skilling with social media as Clare notes “these days, if you're not online, you don't exist”.
For other older women looking to take up or re-engage in art, Clare recommends building a network, as she said with just “one or two good buddies - or biddies” to listen to “ the highs and the lows”, it can make a big difference. She also encourages people to remain passionate and brave, because though being an artist has its difficulties, “it is a wonderful life”, one that makes her and Peta “the lucky ones”. Clare wholeheartedly believes that “60 to 75 can be a very productive time” and that what women can achieve during this time “deserves honouring” and “visibility.”
Meeting Clare and Peta and hearing the passion with which they spoke about the rich voice of the older woman artist, it is clear that this cohort of the art world deserves to be recognised.
The BOLDER exhibition curated by COU COU ran from 30 January to 9 February 2025 with featured artists: Jenny Wylie, Annie Wright, Marie Darkins, Annie Rapstoff, Rhiannon Evans, Margaret Godel, Juliet Eccles, Clare Carswell, Peta Lloyd.