ISSUE 2: JULY 2013
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Dale Pointon www.responsiveimage.com
INSPIRATIONAL MAGAZINE FOR THE CREATIVE SOUL
CONTENTS 08
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05 - WELCOME 08 - A RTIST OF THE MONTH JASON WALKER 18 - NEWLYN SCHOOL OF ART 19 - july EVENTS 20 - REVIEW — OIL PAINTING COURSE 22 - ACCESSORY DESIGNER — THRASHION 24 - VINTAGE & HANDMADE — ALISON BALLARD 28 - DESIGNER HOLLY YOUNG 34 - DAISY RAIN VINTAGE 36 - ANNALISE HARVEY DIARY 38 - FAVOURITE STOP 40 - KIWI PRINT STUDIO 42 - A CURATORS DIARY 46 - 3 FABLUOUS FINDS 50 - INTERVIEW WITH A PHOTOGRAPHER 54 - CAROLINE PEDLER — ILLUSTRATION 58 - BEST IN SHOW 64 - A LITTLE GEM — KIT’S CORNER 66 - INSIGHT 68 - REVIEW — BOOKS AND MUSIC 70 - STUDIO BITES 72 - NOT TO BE MISSED
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WELCOME We were totally overwhelmed by the response we had to our first issue of aesthetip. We would like to say a huge thank you to everyone who has submitted content, been involved and helped with issue 2 July. æsthetip has become very popular in such a short space of time from the release of the first issue being live just one month ago. Our aim is to grow this publication and we are always looking for creative’s to submit.
CONTRIBUTORS
Issue 2 has many interesting features, interviews and lots of visual loveliness to help inspire.
EMMA GRIFFIN PHOTOGRAPHER EDITOR
We are excited to announce we have a ‘lady cook’ who will be featuring each month, so now we really do have everything in one magazine!
STEVE KENYON DEPUTY EDITOR
If you are interested in appearing or submitting your work please email us at aesthetip@gmail.com
ALISON BALLARD VINTAGE FASHION COLUMNIST
We hope you enjoy reading our free online magazine issue 2 July, it has been a pleasure!
CAROLINE PEDLER ILLUSTRATION COLUMNIST
ANNALISE HARVEY DIARY AND PERFORMANCE COLUMNIST NICOLA FROM DAISY RAIN COLUMNIST SILVIA MCKIDDIE BAKING CHARLOTTE DAVIS CURATOR DIARY COLUMNIST Email: esthetip@gmail.com Find us on Facebook: Aesthetip
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BY ELLA BAILEY
BY CAROLINE NARRACOTT
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ARTIST OF THE MONTH JASON WALKER
ĂŚsthetip recently caught up with Jason Walker in his Newlyn studio to find out what this talented artist is currently working on. Usually adorned with technically stunning portraits, the studio was partially covered by exciting multi-media collages, various part finished canvases and boards with dream-like characters emerging from layers of loose painterly backgrounds propped up and hung around his large light space. Jason explained that he was coming towards the end of a series of commissions and found himself looking to push his practice forwards and experiment with materials, techniques and narratives. Responding personally to his own work with the realisation that the enjoyment of painting had taken a back seat and that it is okay to experiment, the collages produced so far are edgy figuratives, some beautiful and others bordering on surreal. Images found in old magazines, newspapers and books mixed with photographs and laser prints have been cut and torn then pasted down in an often abstract manner, some left raw and the majority drawn or painted over with a confident loose hand.
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These mostly small pieces are predominantly female nudes, Jason explained that like many of his peers he is fascinated with people and the female form. With the over sexualisation of women across the media, unrealistic body images are portrayed throughout advertising, which has led to a world where a woman is judged far to heavily on her appearance and not by her talents or strengths. Drawing on unretouched images, Jason is celebrating the characteristics of real women, their body and identity issues, and bringing those feelings and anxieties out into the open challenging them head on. The original purpose of starting the collages was a means to loosen up from the paintings recently completed, quickly work out compositions and break down the images into shapes and forms. Rather than rely mainly on a sitter he will draw on the mixed media collages as a main source of reference. Concentrating predominately on female nudes, these new pieces will be more about the painterly marks where previously the focus has been on the technical rendering of the subject matter. Focusing on large nudes and using his many years experience painting portraits and the figure, Jason will explore scale and structure. Rather then abandon everything he has learnt in his practice, he plans to use this intricate knowledge of his proffered medium (oils) to try and find a representational style.
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Jason relayed that being a tactile person he finds himself craving to work with three dimensional forms to see how working hands on with sculptural materials affects his art, how he could potentially bring what he learns from these sculptures into the paintings, or how he might draw on these for reference. Along with many of his contemporaries, Jason finds solace in fantasy worlds within his headspace, although occasionally dark he plans to visualise parts of these unconscious visions and translate them onto the canvases. As an artist unafraid to use narratives in his work, bringing in a subtle sense of humor and references to folklore and traditional story telling will also play a major part. Essentially he is looking for something to resonate within himself, a language in which to explore the subject matter and engage with his audience in a new way.
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There is no specific exhibition or deadline set for the new body of work; Jason has dedicated a period of time to see where he can take his practice. Eventually the plan is to create a show, however the artist will almost certainly want to select a venue that reflects this next chapter, and may not be in a traditional gallery setting. We got the feeling that rather than being fearful of not knowing which direction his art will take, Jason is truly excited to see what happens next and is embracing the unknown. We will look forward to see how this transpires.
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INTERVIEW BY STEVE KENYON PHOTOGRAPHY BY EMMA GRIFFIN
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NEWLYN SCHOOL OF ART Newlyn School of Art is launching a new one year mentoring course aimed at enabling students to develop their artistic practice over the period of a year with one to one tutorials and mentoring under the guidance of a host of well-known artists. The course which starts in October 2013 will take place over three terms on Thursdays at Newlyn School of Art with regular one to one tutorials from artists including course leader Gareth Edwards, Jesse Leroy Smith, Sam Bassett, Kate Walters, Lucy Willow, Jason Walker, Marie Claire Hamon, Jessica Cooper and Mark Surridge. This course is unusual in that it aims to give a very high level of tutor time with two artists mentoring the group together at all times. Practical work will be done between sessions, and works in progress or recently completed work brought into tutorials will add to the opportunity for students to gain valuable ongoing feedback on their work and help in understanding the wider context of the work they are making under experienced artist tutors. Jesse Leroy Smith will lead a module which will help students understand the wealth of exhibiting opportunities there are for artists to engage with, from approaching commercial galleries through to artist led ‘pop up’ exhibitions in disused spaces. A second module led by artist Lucy Willow will help students to explore diversifying their artistic process. Each student will have dedicated help to consider ways to broaden their approach to making work from the choice of materials they use right up to considering other artistic media where appropriate.
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There will be a final show at the end of the course through which students will learn how to curate and promote an exhibition and gain the opportunity to show their work to a new audience. At the end of each day talks will be given by specialists from Tate, Newlyn Art Gallery and the Arts Council England There will be visits to leading galleries in Cornwall including Millennium in St Ives with a talk about how artists might gain success approaching galleries, and a visit to Kestle Barton to learn about the evolution of a curated exhibition, there will be talks at the school from representatives from national art competitions and artists’ residency programmes. Selection will be via an initial submission of five to ten digital images of work accompanied by a covering letter and CV stating why you would like to take the course (send to info@newlynartschool.co. uk). This will be followed by an informal portfolio interview where appropriate. Everyone who applies will be given the chance to come in for an interview. We are keen to get a range of applicants and previous exhibition history or formal art education is not a prerequisite. Submission deadline for digital images, CV and covering letter will be 5pm on Friday 16th August 2013. To find out more about the course please ring the art school on 01736 365557.
july EVENTS NEWLYN SCHOOL OF ART MODELLING THE FIGURE WITH TIM SHAW JULY 5TH — 7TH EXPRESSIVE PAINTING WITH PAUL WADSWORTH JULY 13TH — 15TH ARTIST BOOK MARKING WITH ALEX HIGETT & GEORGE HOUNSOME JULY 13TH — 14TH COAST PAINTING COURSE WITH PAUL LEWIN JULY 15TH — 17TH STILL LIFE ESSENCE OF FORM WITH JESSICA COOPER JULY 18TH — 19TH MARK MAKING WITH CAROLINE PEDLER JULY 20TH GOUACHE PAINTING WITH MAGGIE O’BRIEN JULY 21ST ABSTRACT LANDSCAPE WITH GARETH EDWARDS JULY 22ND — 23RD WATER COLOUR PAINTING WITH MAGGIE O’BRIEN JULY 25TH – 26TH PRINTING IN COLOUR WITH MARY CROCKETT JULY 27TH — 28TH
WATER COLOUR PAINTING WITH MAGGIE O’BRIEN JULY 25TH — 26TH PRINTING IN COLOUR WITH MARY CROCKETT JULY 27TH — 28TH CORNISH LANDSCAPE PAINTING WITH MARK SPRAY JULY 29TH — 31ST
From July 4th and running throughout the summer, Newlyn Gallery will be opening until 10pm every Thursday evening. With a fantastic bar housed in the Studio Café and beautiful far reaching views out across the bay, this distinctive venue offers a unique way to complete your day.
MILLENIUM GALLERY TIM SHAW EXHIBITION WAKING FROM THE DREAM OF REALITY JUNE 28TH — JULY 23TH
NEWLYN GALLERY SAMUEL BASSETT BEFORE AND AFTER BIRTH – an intimate solo exhibition of recent works TAKING A CELEBRATORY LOOK AT PROCESS LEAD WORK, IDEAS OF WHAT ‘IS’ BEFORE AND AFTER BIRTH JULY 6TH — AUGUST 17TH
OTHER The Newquay Vintage Market The Hotel Victoria, NEWQUAY JULY 21ST
CORNISH LANDSCAPE PAINTING WITH MARK SPRAY JULY 29TH — 31ST
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REVIEW OIL PAINTING COURSE WITH JASON WALKER — NEWLYN SCHOOL OF ART Things I have learned about still life oil painting from Jason Walker at Newlyn School of Art by David Nutt.
Blending across an area is initially less important than getting the colour and tone right in a particular section.
My technique of underdrawing with diluted French Ultramarine is useful in some instances but using charcoal (and importantly brushing away the excess powder so that it doesn’t contaminate the oil paint and influence the colour) is often better.
Reflections are subtle but, like highlights, can be very influential in affecting the outcome. Look for the colours in the light that bounces from surface to surface. Deciding whether an area is warm or cold is as important as deciding its hue and tone.
Painting on board is as effective as canvas and can give different results according to the priming treatment.
The process of completing a painting is a journey that should not be hurried.
I have got in the bad habit of overuse of white to cover up my underpainting. Observe then choose and mix the midtones with care. Follow with the dark tones then finish with the lightest. After drying the final details can be applied, even though the technique I am using is essentially wet on wet – otherwise known as alla prima (lit. at first go). This technique was taught by Carolus Duran, the French mentor to John Singer Sargent – an artist who was, for a long time after his death out of fashion, but who has always been one of my heroes. I aspire to working alla prima with confidence. Mixing the paint to the right consistency is very important so that paint is put on with complete opacity and the brush does not drag off any previous application revealing the base priming as a lighter patch. It is possible to paint with turpentine and oil paint only. Linseed and liquin are often not needed except for over glazing.
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Working on many paintings at the same time can be a much better process than trying to complete individual pictures during long sessions or in strict chronological sequence because coming back to look anew reveals fresh opportunities. The risk of getting precious is avoided too. There are as many valid styles of painting as there are artists. Working in a way that I am most comfortable with should prove the most successful. Enjoyment and passion will emerge through paint.
Amanda’s thoughts Still life....three days of looking at fruit and vegetables, time to study, to paint what you see, be true to the form. As you study pictorial divisions become clear, which translates into your still life composition. It may seem quite simple but put this into practice is the hard part. I have come away from this course with lots to do in my own practice. INTERVIEW AND PHOTOGRAPHY BY AMANDA HUNT.
ARTIST – JASON WALKER
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THRASHION My name is Nat and I am behind Thrashion Recycled Skateboard Jewellery®; jewellery, accessories and homewares made out of recycled skateboards. My company Thrashion Ltd was registered as a limited company in 2011 and I now work closely with the UK skateboarding industry to recycle their old wood. I sell in galleries, boutiques and skate shops across the country and the world! And I was the first person in the UK to make jewellery out of skateboards. I’ve always been an artist but started making jewellery in 2007, recycling was the first thing that inspired me and being a skater I had a number of boards laying around my house. We didn’t want to throw them away, (they’re precious things that have a lot of memories) so I started cutting them to see what I could make. My husband and I have been skating since the late 80’s. We didn’t actually meet through skating but my husband always remembers me skating and riding my bmx past his house. At the time I was the only girl skater in Falmouth so I guess he must have liked that! I have never really been much good and just use my skateboard for getting about.
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Dan takes it much more seriously and is actually pretty good, my son has just won his first skateboarding prize at the age of 5 and my little girl is already showing an interest at 2 years old. I don’t really have a creative process, although I love peeling the griptape off. It used to be a real chore but I now have it down to a fine art. I love the little bit of excitement you get from revealing what’s under the griptape. You never know what you might find. The broken pieces are much more inspiring than the whole deck as you can get a real grasp of the coloured layers, I often find myself painstakingly cutting the broken edges trying to get a certain pattern or shape from the edge and also dissecting the deck in certain areas to create individual picture postcards from the design. Also the joy of skateboards are the designs which are always awesome, edgy, bright and colourful, and even cutting sections from the designs create amazing mini pieces of artwork which are perfect for jewellery. The first custom order I did was for Matt Pritchard (of Dirty Sanchez) which was awesome. I’ve since worked with many pro skaters and have had orders from actors from the UK and US.
Skateboard jewellery makes a great gift for a skater, especially if they are like us and don’t want to lose a board that they have spend riding and grinding for years. I think every scratch and mark on a deck is important as it marks each new trick you’ve learnt and really documents your history as a skater.
www.thrashion.com
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vintage column writer alison ballard
Hello and welcome to my page. Each month I will be bringing you vintage and handmade fashion news, finds and favourites! I love handmade and vintage fashion and home accessories and as well as writing my page for Aesthetip Magazine also run my own small business – Silly Old Sea Dog, making fun colourful vintage inspired handmade clothing for woman and children. This month I will bring you an overview of Plymouth College of Art’s BA Fashion Show, sewing classes in Falmouth and a home made project. Fashion Show News: As a graduating student of Plymouth College of Art I have recently taken part in the BA Fashion Show with my final year collection alongside a number of other second and third year students. The shows have been a celebration of the past 12 months work by all students of the college and an opportunity to show off our work to the general public and industry. My collection was created based on vintage style, mainly focusing on the 1950’s style and silhouettes, from here I created a set of 3 ladies dresses, 2 children’s dresses and a man’s shirt and trousers. I was really pleased how the garments turned out and due to the dedication of my models, how great they looked on the catwalk.
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Our fashions shows took place over two days, on the 12th and 13th June 2013 in a marquee on the piazza in Plymouth. I am sharing with you some of my favourite images from the shows.
Image 1: Ashlyn Coyne, Tian Bobsin, Katie-Lousie McLoughin and Steph Thomas on the Catwalk, Photography by Kevin Hicks.
By Sophie Hassell photography by Jamie Sweetlove
Image 2: Ashlyn Coyne, Tian Bobsin, Katie-Lousie McLoughin and Steph Thomas on the Catwalk, Photography by Kevin Hicks. Tian Bobsin, Katie-Lousie McLoughin
By Carloyn Maddox, photography by Jamie Sweetlove By Jasmin Hogben, photography by Jamie Sweetlove
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vintage coloumn writer alison ballard
Sewing Classes: If you would like to learn how to sew yourself or improve your skills help is at hand! In the first year of my degree I didn’t even know how to use a sewing machine! It is with the help of Sarah Bayley at Truro College where I learnt to sew and also with Sarah’s help that my business idea formed. Sarah is now running sewing classes every first and third Saturday of the month in Falmouth. They are a great opportunity to not only learn sewing skills but also to learn pattern cutting and designing skills in order to make your own clothing and accessories. Sarah is a highly experienced tutor having lectured at Truro College and various high schools in Cornwall after working as a designer at Pineapple for many years. Why not pop along to The Lighthouse Children’s Centre, Jubilee Road between 10.30 — 12.30, if you would like more information contact Sarah on: 07815 581767. Home Made: Up-cycling furniture using old newspapers I always like a good charity shop or car boot find! I find there is always a lot of good quality furniture available to buy for very reasonable costs, which just needs a little TLC! I picked up this bureau from Cancer Research in Newquay for £45.00, ripe and ready for a makeover. The bureau has lovely woodwork, but over the years the top, sides and legs had been damaged. I decided to sand down the shell of the bureau, before undercoating and painting cream. To decorate the inside of the bureau and to line the draws I have collaged a collection of old newspapers (mainly from the 1940’s and 70’s - which were a car boot sale find).
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I started by cutting out a number of adverts from the newspapers and laying them onto the writing table surface to fit, I then attached them by painting a layer of watered down PVA glue to the base of the wood and by arranging the papers onto the surface and painting over them in lots of PVA. I chose the articles to use carefully, selecting a number of great fashionable adverts from wartime, including some great fashion adverts from Selfridges, Burberry and other fashion houses. Once the PVA had thoroughly dried, I painted over a coat of clear varnish to seal the newspapers to ensure the print is not transferable and to ensure a hard wearing finish. When removing the letter rack to paint, I found a number of old stamps stuck underneath, I have added these to the collage so they get to remain as part of the bureau. Why not update some of your old furniture using vintage newspaper or pick up something to decorate from your local charity shop? What you will need to create your own retro newspaper furniture: 1. Sander/Sand Paper (electrical is best) 2. Undercoat 3. Top Coat 4. A selection of old newspapers / magazines (ones from the 40’s have great adverts) 5. PVA Glue 6. Clear Varnis I hope you have enjoyed my first column. In next month’s feature I will be reporting from the Crysalis Programme in Belgium where I am attending a 3 day Textile Business course and I will be bringing you an insight and images from Shabby Cow and their amazing collection of book bags handmade in Penzance. I am also pleased to confirm that Lisa Parkinson from Kernow Dream Photography will be joining my page as our Vintage and Handmade Fashion Photographer. Alison x Follow me on Twitter: @SillyOldSeaDog Facebook: www.facebook.com/sillyoldseadog JULY
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DESIGNER
HOLLY YOUNG A Cornish milliner is joining the likes of Cartier, Faberge, Swarovski and Jasper Conran to make unique masks for a celebrity ball being held in the heart of London on July 9th. Holly Young, who makes bespoke headwear from her studio in Truro, has created a Cornish chough for a man and a flamingo for a woman, which is on display at London’s Selfridges in the run up to the event.
To view Holly’s creations, please visit http://www.hollyyoungboutique.com To find out which celebrities will be wearing Holly’s masks on the night, follow Holly on Twitter @hollyyounghats or like her on Facebook
Celebrities including Joanna Lumley, Paloma Faith, Ben Elliott, Cara & Poppy Delevingne, Henry Wyndham and Christian Louboutin will visit the store, or be represented by their personal shoppers, choosing their favourite to wear to the Animal Ball, hosted by illustrious charity - the Elephant Family at a “magical London location”. Original, bespoke and expressive, Holly Young’s couture millinery takes inspiration from Britain’s rich fashion heritage, the natural world and the women she meets, resulting in designs which epitomise elegance, exude classic style and offer a fresh, unique take on headwear for all occasions. She was thrilled to be asked to make masks for the Elephant Family Charity ball saying “I chose to make two bird masks because birds are my most favourite creatures from the animal kingdom. The first one is a Cornish Chough which is a very rare and endangered bird and is on the Cornish emblem. I thought it was the perfect opportunity to highlight this elegant and endangered bird whilst celebrating its beauty. The second bird I chose was a flamingo because they are such a fun and iconic animal. Who wouldn’t want to dress as a flamboyant flamingo?” 28
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PHOTOGRAPHER SIMON BURT
Holly Young recently worked with Griffin Photography to produce a fashion shoot to showcase some of her headwear designs. Holly used five different pieces within the shoot and dressed the model in a 1950’s wedding, which she had be given by a client. Emma, from Griffin Photography said “when Holly showed me the dress I was so excited and new we had to do a shoot with this!” The vintage dress mixed with a church and graveyard location really brought out Holly’s designs. To see more of this shoot please go to: https://vimeo.com/69110279
PHOTOGRAPHER EMMA GRIFFIN
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MODEL: Ruth U’Ren HATS: www.hollyyoungboutique.com Photographer: Emma Griffin
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MODEL: Ruth U’Ren HATS: www.hollyyoungboutique.com Photographer: Emma Griffin
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DAISY RAIN VINTAGE I like to think of Daisy Rain Vintage as a great big dressing up box where customers can idle away an hour or two browsing the rails packed with gems from eras gone by and experimenting with different looks and styles. Second to my passion for clothes and dressing up, is my love of meeting people and talking about clothes, so developing the vintage clothing side of the already established family antique business made perfect sense. We source our clothing keeping current trends in mind. It’s a place to have fun with fashion. For me, there are no hard and fast sartorial rules – so long as you enjoy what you wear that’s all that really matters. Over the coming months, we plan to extend our vintage menswear range. We already stock a selection of menswear (think tweed jackets, Hawaiian shirts, trilbies) and have noticed a growing demand for quality and individuality in men’s clothing. It’s exciting times; that’s what I love about this business, it’s forever evolving which keeps it fresh and interesting.
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As for my plans for this column: I am going to take you on a journey back through fashion history, one era at a time, outlining the key looks that defined each decade whilst showcasing pieces from my store and showing how these looks can still be relevant today. First stop: the Seventies. Expect dagger collars, funky flares and a super cool 1970s Ford Capri. Find us up the little alleyway next to the Post Office in Redruth’s old steam bakery, which is now a treasure trove of all things vintage and retro. 60a Fore St, Redruth, TR15 2AF Telephone: 01209 315099 Open 10.30am — 4.30pm Monday to Saturday Facebook: Daisy Rain Vintage
MODELS: KEVIN WOOLCOCK KATIE MCLOUGHLIN, STEPHANIE THOMAS PHOTOGRAPHER: GRIFFIN PHOTOGRAPHY CAR BY: TREVERBYN CARS
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ANNALISE HARVEY PERFORMANCE ART REVIEWS
Tristan and Yseult Kneehigh Theatre Hall for Cornwall 26 June 2013 Cornish theatre company Kneehigh’s production of ‘Tristan and Yseult’ started life in 2003, at Restormel Castle and has evolved its way around the world, playing to audiences as far away as Sydney in 2006. Now the company, so beloved of many discerning theatre going Cornish, has brought this favourite home to Truro’s Hall for Cornwall, before setting off on another tour with the latest version of the production. Many of you will know the story, most likely through exposure to the Opera by Wagner (who renamed our heroine Isolde) or the Ridley Scott film of the same name in 2006. It’s a love story which has inspired a thousand more, but you may be surprised to hear that the original pair of ‘star-crossed lovers’, precursors to Lancelot and Guinevere and Romeo and Juliet, lived out their tale right here in Kernow. Company Founder Mike Shepherd, who also performs in this show, says ‘if we were to have a manifesto it might include the words generosity, passion, bravery, humility, ambition, instinct and irreverence.’
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Tristan and Yseult is all that and more — a uniquely creative telling of an old legend that perfectly fuses live music, dancing, and humour in an emotional rollercoaster that will have you simultaneously laughing out loud whilst forgetting to breathe from the tension. It is a supremely joyful, beautifully crafted piece of theatre that speaks to the universal heart of the audience. Highlights for me included the ‘Love-spotters’ a gaggle of geeks in macs and balaclava’s, binoculars around their necks, who as paid up members of the ‘Club of the Unloved’, facilitate the evolution of the story by observing, partaking and commenting on the narrative. A brilliant spin on the classical Chorus device and the audience couldn’t help but love them in all their nerdiness. Visually rich, though not over designed (sometimes the best theatre uses very little) the company worked wonders with what was basically a ships mast, a pulley system, and a trampoline, and was for me, the most effective during the scene which tells of the lovers exile in the woods. Gently falling autumn leaves as their love begins to wane, hauntingly beautiful music and dancing intertwined with a poetic narrative from the watchful Lady Whitehands left me sighing and longing for more. Magic.
Special mention goes to Carly Bawden, playing Whitehands, a hugely talented and versatile performer with a voice like a crisp white wine and to Craig Johnson who almost stole the show as Yseult’s maid Brangian, bringing tears to my eyes as she describes her first night of love, spent incognito at her mistresses request. The changing pace, both in time and emotion, ensured that the audience was kept on their toes, and there no getting over getting indulgent in all the romance. Moments of tension juxtaposed with something totally hilarious, and scenes of poignant emotion segued into fast moving physical action. For me the best type of theatre, Tristan and Yseult is an emotional work out that leaves you feeling utterly exhilarated and a tiny bit exhausted, like a cliff top run on a summers evening. Go and see it, you won’t be disappointed. For more info on the tour and to get tickets visit Kneehigh’s Website www.kneehigh.co.uk
PHOTOGRAPHER STEVE TANNER
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FAVOURITE
STOP Little Wonder is a vintage caravan cafe serving delicious homemade sweet and savoury treats and a selection of hot and cold drinks to those who like to go alfresco. Little Wonder and her crew are also available for private hire, contact chef Nic on 07980 005885 for more information.
T: 07980 005885 E: hello@littlewondercafe.co.uk 38
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W: WWW.littlewondercafe.co.uk
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KIWI PRINT STUDIO How and why did you first start your business?
Do you have any rituals to start your day in the studio?
My father ran his own plumbing business, which inspired me to work for myself; he was a firm believer in working hard to succeed which influenced me as a young child to follow my own ambitions. He taught me the importance of networking with traders and potential clients, and the value in sharing and working with others with different specialist areas. I have learnt so much from people who have set up their own businesses and valued their advice and support.
Whatever my day in the studio involves I am an early bird, up, washed and dressed followed by breakfast and tea. The first thing I do in the studio is open the barn doors and let the light in. At the end of my day I like to get the space prepared ready for the next morning. I get excited going in knowing it’s all set up and waiting for me with everything to hand. I’m particular about looking after my materials having always appreciated the value of the tools that help me do what I enjoy.
I have been working as a part time tutor and technician teaching printmaking in colleges and universities. I really enjoy teaching and seeing how my skills can offer creative possibilities to others, it is very inspiring working with people of all ages and talents. I have found balancing both professions challenging, but through this have learnt there is a need for Kiwi and this has driven me forward into running my own print studio. What excites you every day about your job / work? Sharing knowledge and skills – inspiring and being inspired by a diverse range of people. Being able to explore ideas in my own creative space doing what I enjoy with no limits and no rules Exploring techniques to see how this can open up new creative possibilities. Helping others see how their ideas and interests can be explored using printmaking skills and techniques.
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How do you see your business / work progressing in the future? I sat with tea in my studio surrounded by a days worth of screen-printed samples, colour tests and a lampshade Marquette, I’d previously had this visual before starting the studio but now I have realised I am there. I have reached a position where I can now channel all my time into Kiwi. I hope to grow and I am sure there will be lots of challenges along the way to keep me on my toes! As for me, I am enjoying the facilities and the creative space to experiment and develop more ideas. I am excited by the prospect of working with more talented artists and designers in the near future. What is your proffered colour to print in? Where do I start! I have a little notebook to mark the colours in and keep track of the different tones, dependant on the design and feeling; this will usually inspire the colours I use. I adore colour and enjoy experimenting with as many as possible!
Do you feel constrained by the medium you work in, or enjoy trying to push the process as far as possible? Part of my ongoing projects has involved working on a series of etched Perspex pieces and taking blind embossings. The techniques used in doing these experimental works are not traditionally used in printmaking and have proved to be challenging, however I have thoroughly enjoyed discovering innovative approaches by combing processes in my work. Do you experiment with processes / materials / inks?
Where can people view or purchase your work? My work is on display and available to purchase at The Sail Lofts shop and gallery in St Ives. There will be an online store where you can view and purchase my prints which is currently in the pipeline. Contacts: www.kiwiprintstudio.co.uk kiwiprintstudio@gmail.com Facebook – Kiwi Printmaking Studio Mobile: 01209 719696
Being able to experiment is a huge part of my working practice and helps me in the development of my ideas, I am constantly excited by how you can combine techniques and achieve different outcomes through the unexpected possibilities printmaking can offer. Do you think that screen-printing is given enough credit to being a valid art form? Personally I think printing in general is often misunderstood, people do not realise the level of work and skill involved. The technique and processes I use as a printmaker vary because my work is hand printed, each piece is unique and holds its own qualities. Do you undertake private commissions? I have carried out a series of screen prints for various clients, most recently I was commissioned to design a photographic screen print incorporating the traditional elements of the Cornish landscape.
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CHARLOTTE DAVIS A CURATORS DIARY
Charlotte Davis is a ‘Cornish Girl’. She works at Falmouth Art Gallery, whilst also sharing her passion through curating art projects and exploring her practice as an artist. She is obsessed with curating physically participative exhibitions which include work across a range of media, and giving particular attention to the positioning of an artwork in relation to its surrounding architectural space when encouraging physical interaction. To collaborate...I am sat here, trying to start my first article for A Curator’s Diary. So here goes! Following on from last month’s article on Jesse Leroy Smith and Faye Dobinson, I have decided to explore the idea of collaboration. I would like to propose four concepts. Number one, where two or more artists explore their work to create one combined artwork or exhibition. For example, Liam Jolly and Alice Mahoney’s Admit One installation at the Tardis in Truro a few weeks ago. My encounter with this private view was brief, however it did leave me intrigued. The documentation of material collected from their recordings and text was credit to their audience. How would this have worked if no-one turned up for one hour? I must add, this was my puppy’s first exhibition and even she was transfixed by the man stood motionless gazing at the corner of the room and the lady writing frantically. They were both responding to mine (and Domino’s) bashful silence.
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I do apologise for breaking the rules. Admit One literally means ‘only one person allowed in at one time’. It all makes sense now! Now, moving on we can start considering artists who physically layer and merge their practices together, opening their process up to be altered and added to by another. (This could easily be confused with the previous idea). Juliet Walshe and I have been developing this such relationship over the past ten months under the title of Contours. The relationship between the individuals is integral with this type of collaboration. Rules need to be set and agreed. Right at the top should be trust and honesty. How can you open your work to scrutiny when you do not trust the person you are working with? With regards to Admits One, the trust laid with the viewer; the artists exposed themselves by facing the wall. They were not to know who would walk in through the curtain from one moment to the next. Next I would like to take a step back and propose an exhibition format that we are all familiar with but may not have associated with collaboration. Group thematic exhibitions offer a sharing of ideas on a more subtle level. This is where I introduce my other role, which is working as an Access and Interpretation Manager at Falmouth Art Gallery. Over the past month we have been preparing for the Summer exhibition, Making Faces. As a team, we will be installing the show tomorrow. I am becoming more aware of the politics faced when curating an exhibition in a museum compared to a contemporary art gallery.
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I hope to talk a little more about this next month. The final collaboration that I would like to put out there is the balancing of my two roles as artist and curator. This is a blend of disparate but complimenting roles, which just so happen to allow me to function as a creative practitioner. Each one offers challenges to solve and moments of pure gold. Since completing my Masters and having decided to focus on curatorial projects, I have found great pleasure in working with artists, exploring exhibition proposals and supporting their practice. Discovering an artist’s work, uncovering themes and threads is revelatory at times. This lightning strike of discovery is just the buzz that I thought I may give up if I stopped creating my own Discovering an artist’s work, uncovering themes and threads is revelatory at times. This lightning strike of discovery is just the buzz that I thought I may give up if I stopped creating my own artwork. So far I have been proven wrong...
A CURATOR’S ASSITANT
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That’s so
FABULOUS OUR TOP 3 FABULOUS FINDS
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VINTAGE FABRIC CHILDS DRESS BY LITTLE BINKS — £10 FABULOUS!
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FABULOUS PHONE CASE BY POPPY TREFFRY AT — £15
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VINTAGE SUIT CASE FROM KIT’S CORNER IN PENZANCE IS JUST FABULOUS AT £95.
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INTERVIEW WITH A PHOTOGRAPHER
JULIA MCINTOSH æsthetip catches up with photographer Julia McIntosh for a quick chat about her work. How did you start working as a photographer? I started out by photographing anyone who would let me. My gorgeous daughter Verity Blue was my muse for the first few years until she got bored of posing for me! I learnt how to use my camera well, always on manual (scary stuff when you first start out). I did lots, I mean lots, of work for free; editorial, portfolios and promotional stuff. Eventually I got to a point when I decided that I couldn’t work for nothing. Photography equipment is expensive and editing time consuming. I was fed up with feeling that people didn’t think that my work and time was worth paying for. But slowly the paid work came in and last December I landed my dream job as fashion writer/photographer for Cornwall Life magazine. Seven months later, I’m still on a high and of course know how lucky I am. Tell us about your monthly feature in Cornwall Life Magazine? I write about up and coming businesses in Cornwall. It’s a fashion based feature so this includes clothes designers, jewellery designers and anything that women love to wear. I also take all the photographs to accompany the write up. What is your inspiration? I’m inspired by everything I see. We all are, whether it’s conscious or not. Sometimes it’s when I’m out and about
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and sometimes it’s other photographic images I like. I like very natural looking images. I don’t like images that look fake. HDR and over airbrushing are two of my pet hates. Do you have any advice for those out there who want to get their work published? Yes, don’t give up. I’m a great believer that if you want something badly enough you will find a way to do it. Also, know your market. If you want to be a high-flying fashion photographer, it’s not going to happen in Cornwall. Create your own unique style and get your work in as many places as possible. Be tenacious and be prepared to do a lot of TFP work before you get your break. However, that said I also think that there’s a certain amount of being in the right place at the right time. Who is your favourite photographer? Oh goodness, this is a difficult one for me to answer because I have so many! Can I list a few? I adore the work of Sally Mann. Her work is a bit controversial. Her book ‘Immediate Family’ is very provocative. What I mean is, it provoked a big reaction when it was initially published. But to me, as a mother they represent the love a mother has for her children, warts and all. Her images have a fabulous dreamy quality to them. She shoots on the old wooden frame cameras from the early 1900’s, using the wet plate method, which creates a large 10x8 negative on glass not film. The results are truly amazing.
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I’m also interested in Lee Miller. Not that her images were particularly great but just because of her association with Man Ray and the surrealists. She led an extraordinary life, first as Man Ray’s muse, then as a Vogue model. She later became a fashion photographer herself working for Vogue magazine. Tiring of the fashion world she went on to become photojournalist covering the second world war. Unfortunately much of her work lay hidden in an attic until after her death in 1977. So she really only became well known for her work and life posthumously. I read anything I can find about her. Lastly I would have to say Dorothea Lange. I have one of her images on my wall at home. It’s called The Migrant Mother. It’s a very poignant image of a mother surrounded by her children taken in Depression-era America. So there are three favourites, all women, and all shot on film.
What are your plans for the future. Any big projects in the pipeline? I’m hoping to do more surf style fashion shoots. I’m currently in negotiation with Billabong who are interested in some images I recently took of pro surfer Laura Crane wearing their new ‘surf capsule’. Iv’e also just sold some images of surfer Corinne Evans to Nalu beads which are going to be featured in Surf Girl magazine in their July issue. I’m hoping to head out to L.A later this year to visit an actress friend of mine and will no doubt set up some shoots with her. Iv’e been fortunate in that she has used some of my images on her IMDB page, which has brought my work to the attention of potential client’s. My job at Cornwall Life magazine is my priority and my passion. I would like to see that grow and have recently been given a double page slot every month, which I’m thrilled about. What would be your dream shoot, model, location etc? My dream job would be assisting Annie Lebovitz on a fashion shoot for Vanity Fair. The model would be Monica Bellucci and the location would be somewhere hot and exotic in the Indian Ocean.
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www.juliamcintoshphotography.com
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CAROLINE PEDLER SUMMER Show — BA HONS ILLUSTRATION FALMOUTH UNIVERSITY 2013 Caroline is one of our monthly contributors, each month Caroline is going to be covering the world of illustration in Cornwall. Caroline is fulltime illustrator, working with different publishers illustrating children’s books. Her work has been published worldwide with her books covered in over 10 different languages. Caroline has designed and published over 40 books, of which a few have been best sellers. Currently she is working on her own story book ideas, both writing and illustrating.
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Illustrate: Latin illustrãre to illuminate, make clear, give glory to. (Random House Kernerman Webster’s College Dictionary)
With successful application and delivery, an illustration has the power to enhance your experience of the world or simply add punctuation to a moment in time. When I am looking at an illustration or a piece of artwork, I look for honesty in its placing and the care and attention given to the space around it. Whether its intention is forceful, or whether it is sitting quietly waiting for its natural voice to be heard, whilst leaving you wanting for more. So depending on how you approach the Falmouth degree show, you will find something different to the next person. A student may be inspired and in awe, a client overwhelmed by choice or a fellow illustrator worried by the competition, so as someone coming to review the show, I felt overwhelmed by the capability and standard of the work but underwhelmed by the originality of style and application. (Also a little annoyed at the lack of business cards after the private view evening!)
So am I expecting too much, for wanting contrast and exciting new imagery when actually students, more than anything, want a job at the end of it? Usually focusing on editorial or publishing work, and with competition high and publishers taking fewer risks in the current climate, is this show a safe bet? Offering security in guaranteed work for both student and potential client, or is it more important to nurture the true identity of an illustrator in order to create a whole new breed of illustrators who look to the world for inspiration, rather than other illustrators? I have no doubt that these students will find work with these high standards, or that they take their craft seriously, but I do question if many know their true style, or that they are pushing their own personal boundaries to the absolute limit in order to conclude their work in a style that is like no other and therefore intrinsically theirs. To be different has become increasingly difficult with so much out there in the world today, and especially in illustration, so it is hard to ignore this and make anything truly your own, but its not impossible. The thing that makes us unique is how we see the world, how we collate that information and then how we document it, forging new ground instead of perpetuating that which we know and feel secure within.
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These ones caught my eye: Harriet Lee Merrion (harrietleemerrion.com) Immediately offered up something fresh, different and spacious. Kathryn Frank (kattfrank.co.uk) Her work had a very strong and coherent theme of line work and writing style throughout. Lily Louise Scott (lilylouisescott.co.uk) Some really nice elements here, and really nice poster style images. Would be nice to see her sketchbooks too. Owen Gent (owengent.com) A lovely mix of narrative and painting in his show. Emily Clapham (emilyclapham.co.uk) A humorous selection of characters that had potential, especially the Travellers! However it was her more adult work that caught my eye. It would have been nice see more developmental work on her website / blog. Hugh Cowling (hughcowling.co.uk) His books offered a different and welcome format to the 2d wall mounted pieces. His design really stood out from the rest, due to the emphasis on, and empathy with space. Patrick Atkins (patrickatkins.co.uk) Great sense of shape, space, composition and narrative. Sketchbooks on his website were really interesting and showed a different side to the cleanliness and order of the show.
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Kate Alizadeh (katealizadeh.co.uk) Nice fresh sketchbook style. Her work felt like it was ready to take off. With some work on layout, text composition and use of font weights and styles she could be one to watch in children’s books. A nice contrast to the more considered boards, and also being less slick, I felt it offered more to the imagination. Charlie Davis (http://cargocollective.com/charliedavis) Charlies’s work for Beginning Middle End was really intriguing and succulent in its texture with confident use and application of colour. Less Oliver Jeffers than his show work, and therefore stood confidently on its own rather than being watered down by the huge similarity in narrative, content and style to OJ. Lara Hawthorne (larahawthorne.com) Really lovely graphic /folklore style work. Really nice show wall. Beginning Middle End Collective (bmebooks.tumblr.com ) Lovely mix of work. A confident collective look, celebrating the authorial small press print.
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BEST IN SHOW FINE ART
JADE GROODY
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One of the highlights each year in Cornwall is Falmouth University’s degree shows. Emma Griffin, Steve Kenyon and Caroline Pedler went along to view Fine Art, Illustration and Graphics. In each categories they picked their Best In Show to show off the emerging talent.
MARC MESSENGER
JOEL HATHERLEY
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ILLUSTRATION
ALEX SCREEN
CAROLINE NARRACOTT 60
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RICHARD DALLY JULY
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GRAPHICS
SAUL LOGAN
LOUIS ROBINSON
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CHLOE JACKSON JULY
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KIT’S CORNER A LITTLE GEM Kit’s Corner is certainly a little gem when we discovered the store in Penzance. This wonderful little shop is full to the brim of vintage furniture, home wares, books, vinyl, arts and crafts. We adore the quirky bright chair and the lighting on selection. If you fancy something cool to update your home why not take a peak into Kit’s Corner on Chapel Street Penzance.
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KIT’S CORNER 51 CHAPEL ST PENZANCE TR18 4AF
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INSIGHT Insight is an image-based book focusing on artists’ work and headspace showing intriguing aspects of their unique practices. Visual interviews featuring artists who are either emerging or are well established in the Cornish art scene today. The photographs in this publication offer a revealing insight into the working lives of the artists, showing extracts of details about their craft, workplace and personality alongside some candid observations on each artist. Each month aesthetip will show a teaser selection of images from this publication. For more details please see www.projectinsight.blog.com
CHRIS PRIEST
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RICHARD BALLINGER JULY
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REVIEW book and music reviews by our readers and contributors
Paul Weller — Studio 150
Men, Money and Chocolate by Menna Van Praag Men, try not to be put off by the title! A third fiction, a third self-help book and a third recipe book this may at times be a bit saccharine and predictable but behind it all is an important lesson. It is a timely reminder to stop and remember what should be important, compassion, courage and connection. All three too easily lost in this world, where success is measured only by our material wealth. SALLY MURFIN
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The seventh album by this British mod institution released in 2004 and named after the studio in Amsterdam where it was recorded. Although it is an album of covers it has a great mix of rock, funk, acoustic and brass sounds. A few well known covers such as All Along the Watchtower but there are some surprises such as Wishing On A Star. Obviously not a classic but a great all rounder especially to rock out to in the car! SALLY MURFIN
Maus by Art Spiegelman Of all graphic novels which challenge or subvert the form, it is perhaps Maus which best proves how effective the genre can be at conveying a powerful, emotive narrative. The twopart text by Art Spiegelman has become a stand-out work of its kind in the twenty odd years since its publication, and for good reason. For starters, the subject matter tackled not only sets it apart from its contemporaries but was so unexpected it even deterred publishers initially. On the surface Maus focuses on the Holocaust years of the Second World War, but there are multiple layers to the narrative.
Spiegelman recounts his father’s direct experiences, but the reader is privy to his father retelling his story in the ‘present’ as well as living it in the past. Other strands to the narrative include Spiegelman’s complex relationship with his father, his mother’s suicide and his own mental health issues. Not the brightest or happiest of topics maybe, but the finished article is so compelling, visually striking and emotionally arresting, right from the first panel, that it becomes impossible to put down. The drawing style is minimalist but Spiegelman utilises innovative panel and page layouts as well as an unusual frame-tale timeline to vary pace and impact. Because of Spiegelman’s difficult relationship with his Holocaust-survivor father, the portrayal his father’s experience of the war is both intensely personal and curiously detached.
The text is undoubtedly controversial, but whatever your take on the issues it touches on, at its core Maus is driven by character and is an essential read for anyone interested in the evolution of the graphic novel. Laura Parsons
Maus was the first graphic novel to win the Pulitzer Prize and one of the first written in English to excite critical discussion. Over the years many have questioned Spiegelman’s decision to use the postmodern technique of depicting his human characters as animals. In Maus the Jews are mice, Germans are cats, Americans are dogs, nonJewish Poles are pigs and the French are frogs. Some deem this form of portrayal a simplification of complex racial stereotypes and others have argued that it helps to perpetuate them.
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Studio Bites With
Sylvia Mckiddie Hello, my dear lovelies! Please allow me to introduce myself. My name is Sylvia McKiddie, I have been a professional home cook for over thirty years. I refer to myself as a home cook rather than a chef, as I do not observe many of the conventional cookery systems. I like to play around a bit! Some of you older lovelies will remember my television show back in the 80’s, Stop the Saucepan Now, which ran for six years. My cookery books range from the ever popular Don’t Get me Started! Why I Love Bread, which was published in 1997, right up to my current publication in 2012, the very successful Meals in a Minute, Whilst Travelling. I have been asked by Emma to create a monthly recipe page for this lovely magazine. My thoughts my Lovelies, are quick and easy recipes that can me made in a jiffy, bagged up and taken out with you, hence my title Studio Bites.
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This Chocolate Muffin recipe using Soya Milk and Soya Margarine. I have tried other variations, but this gives a wonderful moist chocolate muffin, so let’s stick with it and begin.... Method — Put your oven onto 180c/350F/Gas 4. This mixture will make up to 16 muffins, depending how big your like your muffins! Place your muffin cases onto your trays. Don’t be tempted Lovelies to use small cake cases, you will have chocolate cake everywhere! Melt the margarine, syrup and the milk together. Either do this in your microwave in a large heat proof bowl for around 6 minutes on high, (can sometimes take a little longer) or in a large saucepan on top of your hob. Keep an eye on this mixture as it heats through. When you see the first bubbles appearing on the top, its HOT and ready to go!
Ingredients
4oz Soy a Marga rine 1/2 pin t of So ya Milk 2 tbsp golden syrup 1 tsp o f bicar b of so da 8oz of self ra ising f lour 8oz of caster sugar 2oz coc oa powd er
Sylvia's Topp i ng
8oz of sieved icing s ugar. 2 oz of cocoa p owder Cold wa ter to mix
Immediately, place the bicarb of soda into the hot mixture. With a hand whisk beat thoroughly, it will my Lovelies froth up. Then add the casta sugar, mix well again.
When the muffins have cooled, I usually cover the tops with chocolate water icing. Very easy, peasy. You can of course my Lovelies, use what ever icing you prefer.
Add the sieved self raising flour and sieved cocoa powder. Beat with the whisk for several minutes it needs to be mixed really well. What you will have Lovelies is a thick, warm chocolate batter. Its very, very runny.
Mix the sieved icing sugar and sieved cocoa well. Gradually add cold water a little at a time until you get the consistency of icing you like. Decorate and then enjoy. Quite delightful.
Transfer the mixture into a jug and pour into your muffin cases. Just half way is sufficient. Place your muffins into the pre heated oven and cook for 30 minutes. After 30 minutes remove from oven and gentle place a pointed knife into the middle of one of the muffins. If it comes out clean, they are cooked.
IMAGES BY GRIFFIN PHOTOGRAPHY
Well, my Lovelies farewell until next month. Keep smiling!
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