Coven Magazine Issue One

Action. Art. Adventure

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Contents

Issue One, April 2012

9

13

Maker Rose Choules’ handmade shoes

15

Christina Panteliodis ‘I eat shit really bad all the time”

19

Lisa Rands One tough lady

25

Shanice Da Silva Oh, the joys of being young and talented

31

Roisin Dunne Complex drawings from a complex mind

43

Winter Farewell At least we hope so...

51

Print Club Get your hands dirty

57

Krystal Wright Epically beautiful adventure photography

29 37 39 41 53 67 71

Kit List My Kind Of Place Get Out Haunts Book Club Day In The Life Take Care

Women’s Road Saddle Test

All rights reserverd. No part of this publication may be reproduced, copied or transmitted in any form without permission from the publisher. The opinions of authors do not neccesarily represent those of the publisher

I love the internet, the infinitessimal paths a glimpse of one gem of a post can set you upon.

I can spend hour after hour sifting through all the web has to offer, uncovering new people, movies, books, edits and opinions. It takes me on a voyage of discovery and I would be totally lost without my trusty Mac and iPhone.

Yet I so adore printed matter. My shelves are are lined with books and I love curling up with a magazine, taking time out from my hectic life but not feeling like I'm totally wasting it. I love the power of the magazine to inspire and inform, the feel of thick, good quality paper in my fingers, the smell of the inks and the anticipation of what treats lie hidden beneath the covers. And I love the way a magazine has done the legwork for you, simply presenting the best and most relevent pieces and switching you on to new things.

I hope Coven can point you in new directions, inspire you to delve deeper, to paint or ride, to get out there and do something. Or I hope you’re inspired to curl up and relax, to simply enjoy the words and pictures.

- Juliet

CONTRIBUTORS Krystle Wright EDITOR/PUBLISHER/ PHOTOGRAPHER Juliet Elliott DEPUTY EDITOR/ PHOTOGRAPHER Dave Noakes Krystle is a pioneering photographer from Australia who is accelerating the awareness and visibility of the most extreme sports and their athletes. On a continual quest to challenge herself and others mentally and physically, Krystle brings attention to the demanding adventures and landscapes that the public is rarely fortunate enough to be exposed to.

Saskia Haex

Bicycle mad illustratrator, Saskia Haex is a non stop whirlwind of energy and ideas and as long as she’s creating or riding, she’s happy.

For our launch issue, Saskia had a chat wth fellow Dutch rider, Shanice Da Silva.

Susan Greenwood

Guardian journalist, Susan is one hell of a busy women and barely in one place for more than a minute at a time. When she does have time to breath, she calls the mountains of Chamonix her home.

Susan’s the kind of woman who could knock out a 10,000 word essay in half an hour and still come top of the class.

DESIGNED BY Juliet Elliott WRITERS Susan Greenwood, Tam Leach, Saskia Haex, Maisie Villegas, Laura Manganaro PHOTOGRAPHERS Sanna Charles, Krystle Wright, Will Young, Partial Pixel, Dan Milner, Keith Teket, Greg Falski, Laerke Anderson, Alexcander Turoy

Printed on FSC certified recycled paper using vegetable based inks

by Cambrian Printers COVEN MAGAZINE IS PUBLISHED QUARTERTLY BY Coven Press For enquiries, please contact juliet@covenmagazine.com This magazine would not have been possible without the help and support of everyone who believed in what we are doing, and helped us to achieve it. Big thanks to Dave Noakes, Hugues Desjardin, James Jordan, Totti Nyberg, Sanna Charles, Susan Greenwood, Ian Sansom, Marcus Ross, Aiden Kidson, Tamsin Leach, Michelle Noschese, Legface Man, Mr & Mrs Elliott, Javier & Maisie Villegas

@ Christa Renee

ROXY.COM

Rhythm We’ve been stealing our boyfriend’s Rhythm clothing since we first laid eyes on the Aussie label but we finally have a collection to call our own.

Rhythm’s new women’s wear line springs from the same surf roots but adds a touch of sopistication.

Our favourite? The ‘Julie’ skirt and killer bikinis. www.rhythmlivin.eu

Volcom Posso We’re lusting over the soft, jersey draped cardigans and super hot jumpsuits designed by hot american DJ duo, Posso. Inspired by their travels, the collection features easy to wear refined classics ideal for the avid traveller to chuck in her case. Add a piece of California cool to your wardrobe. Our favourite? The high waisted bikini, £73.50.

In stores from June www.volcommunity.com

Vans

We love a classic piece and this Vans ‘History’ shirt has married the timeless 1966 logo with an updated cropped shape. We like very much although need some sun on our bellies before we’ll be wearing it. £25 www.vans.co.uk

DC Shoes

We salute the simplicity of the Bristol, from DC’s summer collection.

The perfect shoe to take you from the skatepark to the beach or the dancefloor and a bargain at only £35. www.dcshoes.com

T-Level bags

We can’t get enough of T-Level’s latest collection. The ultimate in style and quality, every bag is supremely functional and comfortable with super tough exteriors and waterproof zips a feature across the entire range.

Take your pick from messenger bags, roll top packs and bumbags in every conceivable hue and pattern and transport your goodies with panache.

We need one in every colour!

Challenger 32l urban pack, £125. www.tlevelbags.com

show and tell Being blessed with a wonderfully different body to avoid chafing your inner thigh. A lightly cushto that of our male counterparts, it make sense to ioned saddle with a pressure relieving cut out is a treat our derrieres to a saddle designed to mini- good bet for most female cyclists. mise discomfort and maximise performance.

Firmer saddles are ideal for the more competiThe first thing to remember is that bigger does not tive cyclist who favours padded lycra shorts, the equal better - those huge padded sofa style seats firmness ensuring maximum power transference are not going to serve you well; they’re so heavy to speed you on your way to your destination or and bouncy you may as well strap a mattress to the finish line. Touring saddles are a little more reyour seatpost and once you’ve been on the road a laxed in their design, offering greater cushioning mile or two, you’ll feel like you’ve ridden at least and flex for a comfortable ride. twenty.

We put a selection of saddles through 180 miles of A good saddle needs to be lightweight, stiff rigorous testing to bring you a guide to the finest enough to be responsive and crucially, slim line women’s saddles on the market.

‘Ladle’ - Charge Bikes

‘X2 Lady Gel-Flow’ - Selle Italia The X2 Gel-Flow from Selle Italia is an affordable, durable seat which took little time to wear in. The younger sister of the ‘Diva Gel-Flow’ this saddle has a waterproof synthetic upper in place of the full grain leather on the more expensive model. The rear of the saddle gently flexes giving you great comfort over long rides. We found this only marginally less comfortable than the ‘Diva Gel-Flow which considering the price difference make this a good buy.

W 140 x L 257 Weight 280g RRP £39.99

The Charge ‘Ladle’ is fantastic value, outperforming its bargain £26.99 price tag. Despite having no ‘cut out’, this simple looking saddle is exceptionally comfortable, the basic foam padding providing ample support. An adaptation of the award winning Charge ‘Spoon’, the increased width at the rear is designed to perfectly accomodate a women’s wider seat bones. An absolute bargain though it’s a shame a leather version is not available.

RRP £26.99

WOMENS ROAD SADDLES ‘Diva Gel-Flow’ - Selle Italia We can't fault this supremely comfortable saddle.

The winning point has to be the silicon inserts surrounding the generous cut out, making it an absolute pleasure to use for rides of all lengths, no matter what your riding style or position. We put in some serious miles on this saddle and cannot recommend it highly enough. A carbon composite shell and breathable full grain leather along with Selle's 'Elastomer suspension shock absorber system' puts this saddle ahead of the pack.

W 160 x L 265 Weight: 265g RRP £79.99

STAFF CHOICE

‘Ruby Expert’ - Specialized This ultralight performance saddle features a carbon reinforced shell for solid support. A relatively firm upper is ideally suited to the more agressive road rider whilst the long titanium rails give the option to fine tune your placement and adopt different riding positions as you roll. A big selling point is the choice of three widths, enabling the rider to choose a perfect fit and thus ensuring your seat bones are perfectly placed to take advantage of the supportive gel padding.

Available in widths of 130, 143 and 155mm.

Weight: 205g for the 143mm model RRP £79.99

‘Lithia Gel Comp’ - Specialized The ‘Lithia Gel Comp is a real all rounder, equally able to support you on the road or blasting along the trails. A well thought out shape, slim enough in the front to avoid chafing yet wide enough at the back to ensure your weight is perfectly distributed, however we did find this saddle a little on the firm side.

Available in widths of 143 and 155mm Weight: RRP £40

MAKER

Rose Choules

by Tam Leach

Rose Choules makes shoes. Elegant little flats and the coolest, most covetable moccasins, all carefully stitched and hand-tooled in her north London workshop. She also designs shoes: Choules helped to establish east London label Pointer with her attention to detail and quirky aesthetic – notably creating seasonal lines of lo-fi plimsolls that were quickly copied by just about everybody, and a women’s range that was both wearable and interesting,and now lends her talent on a project by project basis. One week she might be consulting a sportswear brand on a line for international distribution; the next creating a shoe for a single high-fashion catwalk show. Even during her busiest design periods, however, she’ll be tooling away on a new prototype in her bedroom … we lured her away from her leathers with the promise of coffee, and got her take on the production process.

Why make?

To have that direct flow from idea to product; and to be integral to the entire process. And because it’s enjoyable; it’s a powerful experience in itself.

You were responsible for designing the Pointer line for many years, and design part-time for other brands. How does making differ from merely designing?

They are completely different aspects of the same fields; design is conceptual and exciting because it’s completely creative and almost limitless; the making part is where the

limitations lie. In designing for Pointer, for example, the limitations were in translating ideas to the factories, and in making sure that the materials used were both interesting but also affordable enough that the shoes would be accessible to as many people as possible.

So it was about marrying aesthetics with cost, and ensuring that manufacturers could produce to our specifications.

In my own work, I am the manufacturer. So there’s nothing lost in translation, but the styles that I can design are governed by my immediate environment – in terms of resources, because I like to source my materi-

als locally; in the workspace that I can afford; and in capacity, in what I can physically do.

Which is lovely – because there’s less choice, it forces you to be creative in a different way.

What particular challenges does making in London throw up?

Mostly practical – finding the right kind of workspaces for making shoes, especially on a low budget, and finding the right equipment for shoemaking, which tends to come from old manufacturers who are closing down.

There’s a lot of recycling of old machinery.

It’s also time-consuming to find the right people to partner with, leather suppliers, pattern cutters, assistants who are available just when I have a particularly big order …

You had a lot of work to get through just before Christmas, didn’t you?

Yes, I ran a pop-up moccasin atelier in Selfridges in the run-up to Christmas, in their Shoe Galleries. Moccasins make up most of my collection at the moment; they were the first things that I started to make myself. I basically made them in my bedroom while I was still working full-time at Pointer. I trained as a shoemaker in Leicester, at the technical college, and I’ve apprenticed at Lobbs [shoemaker to the Queen, natch] and with various other traditional shoemakers. I’ve always enjoyed the design aspect; I designed some very fetching heels in the shape of lions and mice as a small child; but designing for others has never been my goal.

It has, and still does, teach me a lot, and I enjoy working with different people and companies on exciting projects, designing from their vision and what they want to do, but the bedroom moccasins were the first step in getting back to my original path, in which making is as important as the designing.

So how did you move beyond your bedroom?

I started to get bespoke orders, originally just through word-of-mouth, and quickly realised that I needed more space! And I did a couple of other pop-ups before Selfridges approached me; it’s not just a case of selling shoes, I always do shoe-making demonstrations in the pop-up space, and people can put in bespoke orders. What I love about moccasins, is how, traditionally, they were made to be so personal to the wearer: decorated to reflect their role in their community.

I guess I’ve updated that, so when people order bespoke, I embroider initials and people choose their own vintage trims, which I pick up on my travels. One of my customers requested studs, his clubbing pair. It’s always a fun process.

What happens next?

I’ve been working on a summer collection of simple leather-soled flats, with beautiful fabric uppers, neat little heels and some interesting design tweaks. I’ve prototyped these all myself, but now I’m in the process of partnering up with a small manufacturer who have the capacity to produce them in large enough quantities that they become accessible. I don’t want to handmake a hundred pairs of the same shoe; I’d rather use my making time for prototypes and special runs.

Equally I don’t want a manufacturer to make anything that I can’t prototype with my own hands.

Are you anti mass production?

Not if there’s integrity in the entire supply chain, but that’s difficult; the route that I feel most comfortable with is only making to order, and growing quantity over time if the demand is there, rather than overproducing which is what can happen with mass production. I like dealing with a local network of

suppliers and buyers, because everything is within reach and that seems more natural to me; it also means that I’m not burdened by stock and can stay flexible. I can work on new things without trying to shift old stock.

How does your work impact on the rest of your life? Is working with small orders financially viable, for example?

My work is part of my life, though it’s certainly not the only aspect; I try to ensure that it can change as I change, as I move around, and

not become my life. For example, this summer I’m moving down to Cornwall for a few months to have a seaside summer. I can carry on the design work I do for other companies wherever I am, and my own work will continue in whatever way makes sense, whether that’s coming up to speak to manufacturers occasionally and/or setting up a workshop down there. As long as I’m still driven by the enjoyment of making, I feel like the ways that I realise that can change according to whatever else is going on. And so long as people are buying what I’m selling – whether that’s designs or shoes – it funds itself. I invest what I make back into my work, and I live pretty simply – but it all keeps ticking over. www.rosechoules.com

CHRISTINA Panteliodis BALTIMORE FIXED GEAR’S FINEST

Once the preserve of bicycle messengers and road cyclists on winter training rides, the fixed gear bicycle saw a huge surge in popularity several years ago fuelled by city dwellers looking for an easy and stylish mode of transport.

Since being yanked from relative obscurity and firmly into the limelight, the fixed gear bicycle has undergone a complete revolution. Whilst the fast slick bikes with clean stylish lines are still firmly a favourite with many, a new kind of fixed gear bicycle has emerged which owes more in design to the BMX or the 26 inch mountain bike than the track bike.

The classic converted road bike was a starting point for many people but it wasn’t long before curious riders began to explore the potential of their new steeds and pockets of people the world over were soon trying all manner of fancy skids and spins and sharing their new inventions on the internet. Since then, things have moved pretty quickly and the kids doing wheelies and ‘keo spins’ in car parks have evolved into powerful riders hungry for skateparks, stair sets and rails. Along with the evolution of tricks came a rapid development in frame technology and the new set ups are miles away from the old road frames with skinny wheels that people were riding back in the day.

One of the few female, ‘fixed gear freestyle’ riders, Christina Panteliodis talks us through her new set up and her passion for the sport.

Images by Keith Teket

You've been riding fixed gear freestyle for a couple of years now. How did you get into it?

The Bootleg Sessions DVDs really inspired me to try tricks on a fixed gear. It looked really challenging and exciting.

Where you into other sports before?

I used to be pretty into skating.

As with skating, there are far fewer women involved in the sport. You’re one of only a few female fixed gear riders learning tricks.

How do you feel being the only girl competing against the guys?

I don't really mind or notice I guess! I’m in my own head so much when I’m focused on landing something so it really doesn’t matter to me.

26 inch bike. It’s much better.

How come you ride such a small bike? Are you quite short?

Yeah, I'm really short! I'm only about 5 foot one. When I first started, I had to ride 650c wheels because I'm like, half torso, and half legs so my stand over height is about 28 or 27 inches which is basically child size! So when I first started, I had to ride 650c wheels instead of 700c.

It’s hard getting a frame that fits as a girl we don't have the muscle guys have and a lot of the frames are really front heavy. So I'm pretty stoked about finally getting a small frame. I got it two days ago and I’ve just finished building my wheels.

on pegs I've eaten shit so bad that I thought I was going to vomit

There's always a lot of rubbish on the internet about girls getting sponsored because of their looks and not talent. What are your thoughts on that?

I don't get caught up in it. But I don't think sponsorship should have anything to do with image, it should be about the rider enjoying the product they use and spreading the word.

How do you feel when women exploit their looks/sexuality to get somewhere in sport?

It happens in every field. That’s why there are one hit wonders!

I noticed you have a new, really small bike!

What is it? Is it like a BMX cruiser?

It's the Hold Fast 24 inch and its actually pretty big. It’s not as small as the prototype I tried which I was riding in the Hold Fast ad; that really felt like a BMX. It was actually too small but this new one feels exactly like my

Which wheels did you decide to go with?

I've got the Alienation 24 inch Runaways. They've got off centre holes so its been a nightmare building them. They're quite heavy but I kinda like them.

Your new frame has a negative bottom bracket so it's peg friendly. That seems to be the way fixed freestyle is going these days.

The sport has changed so much that you can’t effectively learn to grind without a negative bottom bracket. Your fork and rear axel need to be inline otherwise you wobble when you grind, you lose balance and it throws you off. The negative bottom bracket changes everything. It took me three months to get used to riding one because you're used to your feet being 'down there' when you pedal and all of a sudden, your bottom bracket is really high and your seat is low and it feels

like you're riding a kid's bike. You have to adjust your body position and the way you ride quite a bit.

How is it riding with pegs?

You gotta try it! It sucks at first because when you bunny hop, if you're off at all, you'll eat shit so hard! At first I hated pegs but then everyone was doing it and I wanted to try it and now I'm totally into it.

When you ride pegs, you've gotta think differently. If you don't hop high enough and get your pegs on what you're grinding, it can fuck you over real bad. But it means you can ride so many spots and if you're into doing grinds and learning different and more complex grinds then they're great. I do think riding without pegs looks cool though.

What grinds are you learning now?

Smiths and feebles. Wierdly I can feeble without pegs! That's how I learnt them initially so now I'm just working on cleaning them up with pegs as it feels slightly different. There's a good ledge for learning stuff on at the local park. but even on pegs I've eaten shit so bad that I thought I was going to vomit.

What else are you planning on learning?

Backflips, haha!

I'd like to see that! How do you get up the guts to try something new for the first time?

I just tell my self that it’s gonna feel amazing when I land it! Because I know it’s true.

Do you like filming edits? Do you feel pressurised or do you ride harder with a camera pointed at you?

I kind of like the pressure because then you try new things. It’s also nice to see the reality of your riding so you know which areas need work.

What do you think about fixed gear riders turning 'pro'?

I think it’s naturally going to happen when the level of skill increases. Hopefully fixed gear freestyle will still be going in a few years so I can still buy parts!

It’s really terrible weather here at the moment in the UK. What’s it like riding in winter in Baltimore?

I think global warming is real!

It should be snowing here but it’s not, it’s hot and we've only had two snowstorms. By now we should have had two feet of snow.

What do you do when it’s snowing all the time?

I play guitar and hang with my dog. Well, when I'm not working. I just got a new job which is keeping me really busy. I work in set and prop design and I'm a stage hand. I work twice a day sometimes so I work 9 am till 5 then I'll go back at 11pm and work all

through the night. I set up events and then I take them down. I like it, I like the people, but I do get really sore from work. Its really physical.

So how often do you get to ride? How do you squeeze it in?

I have two options. If I have the morning off, I try to hit the skatepark or I’ll try to ride with other people which is pretty rare as everyone has different schedules. If I have the night to ride, I go to a parking lot on my own. So I usually ride three times a week, maybe four or five on a good week. Sometimes I go ride and I’m just so sore that I get hurt even more. But if I don’t go on my day off, I’m pissed off the whole day.

Sometimes it’s hard when you are older and get responsibilities and you see all the younger people going out and riding and putting out edits but at the moment, I’m like, you know what? I just wanna ride to ride. I’m gonna stay low key.

Describe your perfect weekend?

Riding in 70 degree weather!

What are your plans for the future?

Pay my bills, ride, love, and stay in good health.

Photography Wills Young

Pinotage, SA. First ascent, V10

LISA

RANDS In the eastern foothills of the Sierra Nevada lies Buttermilk Country. It’s a land of brush plateau, wide horizons and rich sunsets. Squatting on the dusty earth, spilt like great marbles from a bag are huge freestanding boulders, some more than 20 feet high. The place is legendary among boulderers who scale the unforgiving quartz without ropes, using only crash mats for protection. This is Lisa Rand’s office. She works these rocks, chalk-laden fingers finding purchase on seemingly smooth overhangs, feet discovering grip on unforgiving holds, routes giving up their secrets as shadows revolve around the boulders.It’s not a bad place to earn a living.

‘I never intended to be a professional climber!’ says Lisa without a sense of the inevitable, like Da Vinci saying he never meant to be a painter. ‘After graduating I had a full time job in a snowy part of Colorado and occasionally my husband and I would drive to Utah to boulder. I wanted to do more climbing and have a chance to travel so we dropped out of our nine-to-fives, moved our stuff into storage in Bishop and went to Europe for the summer while we figured out what to do next.

Somehow we are still in Bishop today.’

can woman to climb V11 (Plain High Drifter, Buttermilks, 2001), first female ascent of Thriller V10 in Yosemite, first woman to lead a traditional E8 on British gritstone and so on and so forth. It’s a list that draws a picture of dedication and drive, of passion for climbing, for seeking that symbiosis of human and rock, that moment when the world falls away and you’re left with the cool touch of rough stone on your fingertips. Because despite the impressive competition wins, Lisa remains a ‘dirt bag’ climber. She muses on this.

Bishop is the gateway to Buttermilk Country, the small town earning a reputation for adventure, a mecca for rock climbers the world over. The problems on the rocks surrounding Bishop are graded from V0 up to V14. In 2008, Lisa became the first woman to climb The Mandala, an extraordinary V12 route in Buttermilk first set by Chris Sharma in 2000.

It sealed her reputation as one of the most dynamic, groundbreaking and accomplished boulderers in the world. She became a game c h a n g e r.

‘Definitely I have been motivated to be the first, to take a step that no other woman has taken, in an effort to push the boundaries of the sport,’ shrugs Lisa. ‘But the bottom line is I’m more interested in the pleasure and thrill of climbing than anything else.’

‘When I grew up climbing we learned outside on rocks. It was an alternative sport which drew a solitary crowd of people. Going to the crag was a chance to commune with nature and escape the rat race. Climbers in the past seemed to live more of a ‘’dirt bag’ lifestyle. Most of my friends did not have a lot of money so we climbed at crags we could drive to and camp at.’

I’m more interested in the pleasure and thrill of climbing than anything else

You could rack up Lisa’s ‘firsts’, tick them off one by one: First American woman to become number one in the world, first Ameri-

This dirt bag lifestyle still survives in places.

Squamish in British Columbia with its huge granite Chief attracts these soul climbers, people who work for months so they can climb for months. But many places now limit how long you can camp at specific crags, ruling out summers of living out of your car and while you’ll never make yourself rich from climbing, indoor centres have changed the nature of the beast. ‘ ‘Today climbing gyms are making climbing more accessible to the general public but they are also breeding mutant kids who travel the globe in pursuit of climbing competitions and climbing areas,’ says Lisa.

‘Climbing is growing and becoming mainstream and now when I’m on trips I meet people from all walks of life including children of wealthy parents who pay for their travel.’ It’s hard not to pick up a touch of wistfulness in her voice for those halcyon days at the start of her career.

‘This Side Of Paradise, Boulder, CA. V10. First female ascent

Lisa’s own climbing has benefited from the competition circuit, picking up sponsors including The North Face and Evolve along the way who remain supportive and enthusiastic despite her withdrawing from regular competing to focus more on beautiful lines outside. Jay Peery, director of sales at Evolve is effusive in his praise: ‘Total commitment and her own unique vision seem to drive her to never let up until she gets what she wants. Lisa naturally creates a stealthy buzzing energy. Lisa’s an icon and really we’re still punk kids but the synergy is there and we all get a lot out of the relationship.’

‘I’m psyched if I can inspire other climbers to push beyond their limiting mental barriers so they can improve their climbing,’ she says. ‘I used to buy into the stigma that I shouldn’t be able to climb as hard as the guys because I’m smaller and slighter but eventually I realised it was my way of thinking that was limiting my abilities. I’m especially happy if I can inspire women to realise we can physically and mentally be very powerful in our climbing.’

Her own inspirations are varied, ranging from such rock pioneers as Lynn Hill who free climbed the Nose of El Capitan in Yosemite and renowned big crack climber Peter Croft, both climbers whose athleticism and style make them spectacular to watch.

Lisa is democratic in her praise: ‘Regardless of the level they climb, I admire anyone who climbs from his or her heart and who is honest and encouraging. I find it encouraging when a woman does a climb that is

i admire anyone who climbs from her heart

pushing the barriers of the sport but I don’t think women should be judged against their male counterparts because we are built differently. ‘Ultimately climbing should feel fun and rewarding, not demoralising.’

Despite her building her name on competitions it’s this love of the purity of climbing which shouts so loud when you chat to Lisa, this old school love of being out in the mountains climbing a spectacular sequence of moves. ‘Often people are driven to be the first to do a certain thing even though the quality of the line or the beauty of it are lacking. ‘Style is very important to me – for a really proud line just doing the climb will provide a sense of achievement that goes beyond its value as a first ascent. One of the boulder problems I have done many, many times over is High Plains Drifter at the Buttermilks. I al-

ways love being out there in the view of the mountains and climbing that line. It’s a classic.’

There’s something breathless about Buttermilk Country, about the way the boulders seem to sit in suspended animation, climbers specks on the large sides like flies on an elephant’s backside. There’s poetry written on the rock in the movements of those who attempt their summits. At 34, Lisa has etched her name indelibly in the annals of climbing, one of the most inspirational women and accomplished athletes to put chalk to rock. It’s not something she worries about.‘I climbed before I made my living as a climber and I will climb after I am no longer a professional rock climber. I’m sure there’s a lot more adventure to be had.’

Susan Greenwood

Portrait by Sanna Charles

ROISIN

DUNNE THE INTRICATE LINES OF ROISIN DUNNE

Inspired by her profound love of the alchemical and mystical, Roisin Dunne’s intricate drawings take us on a journey through the heart of all that is dark and beautiful.

Her impossibly tiny lines create a macrocosm of depth and beauty, invoking sculptural landscapes of beauty and hostility coupled with a fragile tenderness.

Roisin’s monochromatic work explores the multi dimensional qualites of black and from the initially impenetrable lines comes an invitation to delve deeper, to inhabit her realms of blackness and burrow your way beneath the surface.

Terra

How did you get into drawing in the first place? Is it something you’ve enjoyed since you were a child?

My mum likes to say that we were only well behaved when we had a pen and paper in front of us so I guess I was always drawing!

But I was also pretty focused on music from an early age.

What instruments did you play?

I played piano and cello but I was rubbish at cello! I haven’t touched the piano since I was 19 now. I only started playing cello because at orchestra when I was seven we were randomly allocated instruments. I actually wanted to play the violin but I got stuck with cello. I hated it and I never passed grade one because I never practiced! I was very good at piano though.

How did drawing develop from your early doodles?

From the age of twelve I actually wanted to be a fashion designer; I wanted to be the next John Galliano. I did some fashion drawings and sent them to Gianni Versace and he actually replied and said he thought I had a lot of potential which was encouraging. It wasn’t until I had to choose either music or art that I really went for it. I ended up choosing art over music and went to St. Martins as my dad said I was only allowed to study fashion if I went to the very best place.

When did you realise you weren't actually that into fashion?

About half way through my second year. I did my first work experience and I realised that if I was gonna do it full time it was going to be like slavery and I’d have to kill myself three of four times a year for very little money. I didn't think it would make me very happy. I like my sleep!

Did you consciously think 'I need to find something else to do' or did it happen naturally?

I was kind of all about my sketchbooks anyway and had a reputation in my year as being the one who drew. I think I just thought 'all I want to do is draw, and all I can do is draw'. I initially thought I wanted to do illustration so after I finished my degree I got an illustration portfolio together and applied to the RCA. But after I took part in the illustration workshops I realised that I don’t want to draw other people's ideas and that I’m a very slow worker. So illustration became just my own artwork.

How did you discover your unique style?

It happened in the final year of my fashion degree. But it was at the RCA that it became more sophisticated. It’s still changing. It’s just a natural process.

You like to work with rapidograph pens and cartridge paper but your Spectral Series uses pen, bleach, water and cartridge paper and has a more painterly feel. Is that something you'd like to explore further?

Yes, definitely. With rapidograph I use such tiny nibs thats its a lot easier to maintain control but with the bleach, the process is very fast. You spend ages drawing everything in and then the bleach can just ruin everything in a second. Its really scary but I do want to try more of it.

So would you like to do more painting?

I've only ever completed one painting. To me painting is all about layers whereas my work is more like surface scratchings, like etching and I prefer that.

You clearly have some interest in the occult and the darker side of things. Where does this interest come from?

Well controversially, I grew up with a mother who reads tarot cards and does spiritual healing so I was always fascinated by witches and witchcraft but also slightly embarrassed by it. Also all the artwork I used to have inspired me – the first book I had as a child was a massive book of fairy tales with proper old romantic paintings so that kind of stuck.

Plus I listened to heavy metal as a child.

About seven or eight years old, I got into heavy metal.

I know you're really into music and you've designed artwork for bands such as Moss and Capricorns. Do you take a lot of inspiration from music?

I think music and film influence my artwork more than other artists. I get an idea in a flash from music although obviously I also pay attention to what is happening in the art world. I have to have music on when I work. My new favourite thing is the Throbbing Gristle. 'Gristleism'. It’s a little box that they've made with thirteen tracks of their music on it and a volume adjuster, a track changer and a pitch shifter and it’s really great, you can just stick it on when you are working and play about with it. It just changes constantly. It’s really good fun.

comes from seeing my mum’s tarot cards. I went through a Hans Bellmer phase and was massively into the symbolists. I also like De Kooning, Rothko and Gustave Mauro.

Do you have an idea of how a piece will look when you start?

Yes but it always changes when you realise stuff isn't going to work.

Your work is very intricate and detailed.

Roughly how long does it take you to complete a piece?

It all depends on the size of the final piece and how detailed it is. The crucifix piece is A1 and there are about five layers of cross hatching on that background plus the nib I was using was like a tiny needle so that took about six months of blood, sweat and tears.

I was always fascinated by witches and witchcraft

Are there any other artists who inspire you?

I went through a massive phase of being really into Alfred Cubin who was really strange but brilliant 16th century artist as well as the alchemists of that time. They produced some amazing images about the idea of how the earth was constructed and that was a massive influence. I think it probably

The smaller ones, such as the A4 or A3 pieces can take a week or a month.The stuff which is more straight forward illustration can take a couple of days How do you have the patience to do that?

I just really enjoy it! It’s really theraputic. It’s frustrating sometimes, it really can be like love and hate but generally, you sit down with your music and you go into a sort of zone. It’s really nice. I think about life. It’s addictive.

Do you have a set work routine?

Yes. I get up and go out for a coffee, come home, do emails and have a cigarette then I have to make sure the place is spotlessly clean. I cant work in a space where anything at all needs to be cleaned. Then I begin. Before you know it, three hours have gone by and you think, 'oh, I should eat something!'

But I could happily just stay there till night

Black Series I

time as long as I have lots of music to keep me interested. If I'm bored of some of my music I'll get distracted by trying to find something to listen to. I have to prepare so that everything is ready for the day and I can’t work without music. I can’t do silence.

What are you currently working on?

Im working on some magic sigils. I'm doing my own take on chaos magic. It’s a recession and we need every bit of help we can get, so why not, in times of trouble, turn to the occult? I'm not saying what my sigils are exactly though or they won’t work! It’s going to be quite graphic in terms of how the page is designed so it’s not just going to be solid

Black Series II

texture like some of my pieces. It'll probably take about three months to do four of them then I'll have to metaphysically charge them. It’s got to be done; if I’m going to do this, I’m going to have to do it properly!

Finally, if you could work with any band at all, who would you choose?

Ooh, that’s so hard as I love so many different types of music, but I’d probably have to say If Howling Wolf was alive today and in his prime. I would love to do a cover for him.

The other one that comes to mind is an artist still making music today who I love, and that would be Scott Walker! That would be incredible!

SHANICE

SILVA CRUZ

By Saskia Haex

Hey Shanice. Good to talk to you! Let's start with the basics. What is your name, age and location?

My name is Shanice Silva Cruz I'm 19 years old and live in Rotterdam, The Netherlands How long have you been riding bmx and who do you ride for?

I started riding in 2006 and ride for Skateland, Rotterdam.

How did you first get into riding?

Back in 2006 I came across a DVD called Flybikes. At one point one of the riders in the movie lands a sketchy half cab and it was the coolest thing I'd ever seen. After seeing that I wanted to start riding bmx right away. But when I told a friend about it, his reaction was quite blunt: "riding BMX is not for girls!". I asked my dad anyway if I could have a BMX instead of a mountain bike for my birthday and I got it! I wasn't supposed to do any tricks on it at first but I did them anyway because I wanted to prove my 'friend' wrong. My goal when I first started out was to get better than him. And so I did.

that point. That feels kind of weird.

Since I stopped school, BMX has become more important than ever to me. This year is all about BMX and I want to make the most out of it. BMX is what my life is all about right now and I'm going for it 1000%. I'm even going for the harder tricks like frontflips and 360 barspins.

What are your future plans?

To ride internationally on a pro level. Or to study maths in University. Or to start my own 3-star restaurant. I set high goals for myself.

Would you like to be able to live off bmx?

Yes. The travelling and everything else about it appeals to me. But in our tiny country there is not much money to be made through riding BMX even though I would love to do so. Making money with something you really love to do sounds pretty much like a dream. Plus working for a boss is just not my cup of tea.

BMX is what my life is all about

What motivates you to ride nowadays?

Even though I'm only 19 I've been through a lot. Things have never been that easy with my health, family and school. Bmx was, and is, an outlet for my daily struggles. When you are riding you don't have to think about anything else. And it gives me something to look forward to.

It's also important to motivate yourself constantly. For example when you feel you're not progressing as much as you want to. That's the kind of moment when it's good to realise where you are and to look back at the things you have achieved so far. For example when I started out riding one of my goals was to learn a 360 and now I've actually reached

Skateparks are often overcrowded with little kids, inliners, bmxers, skaters, scooters. And above all that there is often an audience during contests. How do you make sure you maintain your focus amidst this chaos?

Before you start to ride you wait for the right moment. And music is important too. Without music I'm completely out of focus. But when I ride I don't actually hear the music, I’m concentrating so hard, I only hear "10 seconds left", "last trick" or my own name.

There is nothing else on your mind except what you’re going for. You practically crawl under the skin of the trick you’re trying and 'feel' it before you actually do it. It's only after you land it that you snap out of it and can see and hear all the things that are happening around you again.

How do you prepare yourself for a contest?

First I start riding the course whilst thinking of lines and tricks I could do. Before the contests starts I make up a trick list in my head.

During every heat I'll try all the tricks on that list. When I start riding in the heats I'll go from trick to trick, super focussed. The previous trick is forgotten as soon as you land, and a new one awaits.

There are not many girls that ride freestyle BMX and even less who compete. What do you do when there are no other girls competing. Do you ride with the boys?

It depends. In The Netherlands there are no other girls to ride competitions with so I compete with the guys on Pro level. It's only at Fise and BMX Masters that I ride with other girls.

Which do you prefer?

Riding with the guys. The girls' level is often somewhat lower. And I feel more challenged when riding with the guys. The higher level makes you push yourself a little further.

How do the guys respond when you compete against them?

Well back in Rotterdam I'm just one of the guys. But I notice when riding in other places that it's not always like that. Sometimes I'm looked down upon. But after people see me ride, they know I'm a real rider. It would be nice if guys wouldn't judge me and just see me as a rider instead of a chick on a bike. It's a complete opposite of the guys that I ride with. They motivate me and challenge me to get better.

As a girl you have to try even harder than them, which is tough sometimes. It used to be different: I'd get props even if I hadn't landed a trick. There’s no way I'd get away with that now, I have to perform at their level and everyone is equal.

What’s your favourite contest?

In The Netherlands it’s Best of Blaak. It's one of the highly sponsored competitions in our country and the title has a real value. It makes you feel like you've accomplished something if you win it. On an international level, Fise & BMX Masters. In the Netherlands there are often people from the neighbourhood in the audience watching the competition. But at international contests it's people from the scene. Which means you really get noticed and the competition itself is more serious.

Which riders do you look up to?

Channon Balorian, Nicky van der Veen, Daniel Wedemeijer, Michael Beran, Anthony Napolitan and loads of others. I've actually made a YouTube list of edits I watch every day. I'll get so hyped up I can't even sleep after watching it. My goal is to get to that level of riding.

Aren't you afraid of disappointing yourself if you set your goals so high?

I always set my goals high and know that I'll never learn ALL the tricks I want to learn in a year. But I don't overestimate myself too much. I think that setting high goals, really going for it and looking forward to new accomplishments is something I need.

Is Rotterdam a good city for riding BMX? The scene is really nice and there is a good atmosphere. But for riding, the Westpark skatepark is just not big enough to practice pro-bmx stuff. The funbox is just far too small and all the obstacles are often super slippery.

It’s just not a real bmx park in my opinion.

I do practise at Skateland, the local indoor skatepark. Soon i’ll start riding in Eindhoven too because there is a new indoor BMX park opening there, 040 BMX Park.

What are the things you like to do when you are not on your bike?

Cooking. Facebooking. Sleeping!

after people see me ride, they know I’m a real rider Photography by Partial Pixel

Before moving to West Australia I had never heard of Margaret River. With no surfing background and an Italian passport, I had no idea what to expect from this former hippy enclave.

All I knew was that they produce a passable wine.

It turns out their wine is actually good and the area is regarded as one of the best surfing spots in the southern hemisphere. Now Margaret River is now one my favourite escapes in the whole world.

The 300km ride from Perth to Margaret River, passing through Dunsborough, Eagle Bay, Yallingup, and Cowaramup is a succession of infinite and desolated white sandy beaches, forests, fire devastated landscapes and endless surf spots. Surfer or not, you'll fall in love with this piece of beautiful wilderness. With over 130km of coastline and consistent swells the year round, it’s easy to see why so many are drawn to this paradise like I was.

As a european, my knowledge of sharks is limited and unfortunately there are sharks to contend with in these waters. The proximity of these beasts both amazes and terrifies me yet somehow we never seem to worry when it's time to go to the beach.

My personal tips to avoid to being eaten by a shark: never wear black (I'm screwed!), don't act like a seal, avoid grey days, hang out with dolphins and don't go too far out in the water!

Bodyboarder Alex Turoy’s tip: turn your back and paddle back to the beach as fast as you can!

Laura Manganaro

Photo: Alexander Turoy

My Kind Of Place

Margeret River

Set deep in the vast wilderness, light years away from the trappings of civilisation, Mudtrek offer a uniquely comfortable way to experience the plethora of trails North Wales has to offer.

This mountain biker’s paradise is home to hundreds of kilometres of off road riding and a large selection of high quality 50 trail centres. Yet this area is idyllicly quiet and uncrowded despite being home to one of Mountain Bike Rider magazine’s trails of the year.

MUDTREK

The only company in the UK offering ski chalet style comfort, the joy of Mudtrek’s bespoke service is the freedom it gives you to focus on nothing but riding and relaxing. Having experienced the pleasure of being fully looked after slopeside in the Alps we were keen to swop the gleeming snow of the mountains for the mud of the Welsh valleys.

Hand built by Jason, the wooden beamed barns are comfortably furnished with homely touches and open plan kitchens should you wish to rustle up a snack. Our ovens were left well alone for the duration of the trip as Nikki cooks hearty dinners and breakfasts to order, delivered by torchlight in her leopard print wells.

Breathtaking views from our bedroom showed the sheer scope of the terrain we’d be riding and when morning came we were greeted by gentle rays of sunshine and crucially, no rain. This part of Wales sees it’s fair share of precipitation but ex army man, Jason, is never deterred by a downpour, seemingly revelling in the challenges a boggy mire presents. As less hardened riders, our city legs were more than challenged on our 28km loop of the Afan Valley, the thrill of the descent amply making up for the hard slogs up!

Think of a ski chalet but for mountain bikers and in the wilds of north wales

Mudtrek’s base in Carmarthenshire was the ideal spot to explore the fast rolling man made trail centres and the endless off road terrain that make this area so appealing. Guide, Jason’s enthusiasm knows no bounds and his his uncanny ability to gauge our level of fitness and skill ensured we had the ride of our lives whilst Nikki’s kindness and attentiveness made this holiday a joy.

The guiding, home cooking, exhilarating riding and homely accommodation make the comparison to a ski chalet a good one.We departed elated and refreshed, legs heavy and hearts light, more than considering trading in our skis for mountain bikes and mud.

Mudtrek are currently offering the chance to win one of their superb holidays. See their website for details. www.mudtrek.com

The brains behind the awesome, ALA CHAMPFEST, twins, Joanna and Monique Kawecki co-edit their magazine from opposite sides of the globe. They take us to their favourite haunts in London and Melbourne

joanna kawecki

Everything about Patricia Cafe in Melbourne is like no other, serving the best coffee alongside their finer details that set them apart. Designed by Foolscap, staff uniform by Vanishing Elephant, and a mag selection from us at Ala Champfest featuring Ari Marcopoulos, Jody Barton and Domus. It's 'standing room only', and the most casually elegant joint to visit.

monique kawecki

HAUNTS

monique k

awecki

Artwords Bookstore on Rivington St in East London is one of the best bookstores around.

Based just around the corner from our studio, they have every design book you can think of.

The staff are all super cool and they don’t even know it! They always have the latest magazines before any other store. Purple Magazine and i-D are the must-haves.

Portrait by Sanna Charles

winter farewell

BY DAVE NOAKES

P enfield Burgundy Hoody £75 Penfield Parka £130

Terra

Carhartt ‘Glen’ Sweat Dress £80 Volcom Jeans £58

Carhartt Vital’ Sweat Dress, £75

Carhartt Pink Oversized Hoody £90 Carhartt ‘Commons’ Tee £45 Penfield Baby Blue Jacket £110

Patagonia ‘Nano Puff’ Hoody £175 Berghaus Lhasa Hoody £50

chick flick Natalie Wade on the first all girls BMX film

What made you decide to make an all girls Bmx film?

I've wanted to make the film for quite some time now. I finally put my talk to walk a couple years ago and decided that it was time to get some ladies together and get the project going.

Why do you think there hasn't been one before?

It's a mixture of riding ability, money and motivation to get one made. We are all at a riding level high enough to merit a video part. We have Hex Brand on board who have funded a good portion of the travel and I’m very motivated to get something like this out for other lady riders to watch.

Who are the main riders featured?

Nina Buitrago, Camila Harambour, Jessica Ausec, Angie Marino and myself are the main riders. I chose the ladies based on our diversity of riding style and because we are all capable of filming for a full part.

Was it hard work getting all the footage together?

Yes. Without a large budget and with limited equipment it's extremely difficult to get things filmed, especially since we all live so far from each other. I'm editing the video myself and have filmed a fair bit too. Without the help of my husband, Morgan, and our good friend Chris Rollins. I wouldn't have got nearly as much done.

Chick Flick premiers this June in Texas.

www.chickflick.com

PRINT CLUB Hackney

After meeting in university, Fred Higginson and creative director Rose Stallard set up a fine art studio in East London's Dalston and established the Print Club studios two years later using machines discarded by their alma mater.

Print Club offer monthly subscriptions for use of their facilities with members allocated nine hours of printing time a week plus an unlimited number of hours over night, should you be so inclined.

Since Print Club's inception five short years ago, members have swelled to over 500 and their ever popular single day screen printing workshops sell out far in advance. These superb five hour classes guide newbies through the screen printing process from start to finish and participants walk away with their own piece of artwork at the end of the day.

The Print Club shop and gallery on Brick Lane always features a selection of the finest prints produced at the studio, so if your beginner's luck wins you an army of fans on the day, you just may see your completed work hanging alongside the professionals'.

If you prefer to keep your hands free of ink, Print Club’s website features many of the pieces produced at the studio. Our favourite? Amarok by Margaux Carpeniter. www.printclublondon.com

THE S TO N E M A S T E R S California Climbers in the 70’s

The now legendary ‘Stonemasters’ of seventies California sparked a revolution in the world of climbing and defined the new spirit of adventure and rebellion.

Dean Fidelman’s photography captured the spirit of camaraderie and revolution taking place in Yosemite around forty years ago.

Coupled with Josh Long’s tales, the beautiful imagery transports you to an era filled with both spirit and style; a golden age of climbing pre-commercialisation which leaves us feeling dreamy.

Images courtesy of Stonemaster Press

Terra

chick portfolio flick

krystle wright

JENNY JONES Bristol born snowboarder, Jenny Jones is pure gold. The most successful snowsports athlete the UK has ever produced, her trophy cabinet groans under the weight of her X Games medal haul. Jenny talks us through her daily routine.

My days vary wildly, depending on where I am, and whether I'm competing, training or filming. It's different everyday and that’s the way I like it.

I get up at eight and start the day with some porridge, granola and honey. If it's the day of

a competition, I have to force my breakfast down my mouth because I feel so nervous.

On a training day, I'm up the hill from about 9.30 until 3 or 4pm with a bit of a break in the middle for lunch. I make sure that every day is different to keep myself on my toes.

Everyday is challenging in a different way.

One day I might concentrate on just one trick, repeating it until it's perfected. Other days I do complete runs instead, doing tricks I’ve already mastered and just work on the flow and style of my run.

On competition days you normally get an hour or two of practice to get used to the course. You have to work pretty quickly get used to the jumps and put a suitable run together. I try to decide what tricks are going to suit what jumps and how I’m going to connect it all together, what my easier run would be if I’m struggling and what my harder run would be if I’m game on. I shit my pants a bit on rails, that’s where I’m always nervous.

I try to have snacks on me so I don’t have to stop too much, usually a jam or peanut butter sandwich. If I don't have food I lose it completely and cant concentrate so I have to have something to tide me over. For lunch I'll have a small kids spaghetti bolognese or a chicken salad; nothing too massive or it’ll just make me want to go home and sleep. After a coffee or something sugary I'll get back out and ride for the rest of the afternoon.

At home, after my cup of tea, I ice whatever part of my body needs attention. There’s always something, usually my knee which seems to be permanently swollen these days.

Then I speak to my boyfriend on Skype and

head off to the gym if it’s a training day.

Now that I’m over 30 I have to train and I have a programme to stick to which seems to work pretty well for me. I’ve picked up several injuries over the years so I just couldn’t do this for a living if I didn’t look after myself and work out. I do two core sessions and one weights session a week, the day before I have my day off. I also have two water recoveries; my trainer said the water is really beneficial and after trying out some water based sessions, I have to agree. So I swim for 20 – 30 minutes or walk around and do steps and kicks.

I do try and take care of myself so I eat pretty healthily.

I focus on protein and vegetables and tend to avoid pasta and potatoes because I don’t feel they have much value. I eat a lot of salad, avocados and chocolate, definitely plenty of dark chocolate.

Sometimes I go out, though not as often as back in the day. I like to play pool, have a few gin and tonics, maybe see a band or go for two for one cocktails. But not every other night like it used to be! These days I'm usually in bed by eleven.

During competitions I save it for the end of the week and go out if I've done well. Actually, if I haven’t done well I will probably go out as well!

Day In The Life

SANNA CHARLES

We’re a nosey bunch at Coven Magazine and are always intrigued by what’s lurking in the depths of people’s bags.

Photographer and drummer, Sanna Charles talks us through the contents of her pack.

Wallet For important stuff like money, driving license and bank cards.

Film Camera + bumbag This is the film camera I like to use. It’s a Contax T2. I have a habit of losing original camera cases, the ones that come with the camera when you buy it so I’ve resorted to collecting bumbags and using them.

Digital Camera This is a small digital camera I’ve recently started using along with the film camera.

It’s handy for when I need photos quickly.

It’s a Canon IXUS 105.

Scrap Papers / Song Lyrics / Cold & Flu powder / General Shit I always like to carry around as much scrap paper as possible, not through choice, it just happens. Todays finds were as listed above.

Batteries, of many varieties You never know when you’re gonna need some batteries.

Keys Very important for locking up my bike and getting into my house.

Tissues For that runny nose.

Apple Which never gets eaten and eventually gets thrown away.

Hairbrush I have unruly hair that turns into dreads if I wear a hood.

Face Makeup To sort out my face.

Hand Cream To sort out my hands.

Lip Balms To sort out my lips.

Bottle Opener / Lighter For drinking and smoking.

Drum Key I play drums so it’s pretty handy if we have a gig or at practice.

Diary / Note Book So I can remember all those amazing ideas, things I have to go to and stuff I have to do.

Knife I don’t use it for stabbing people or anything, it just comes in handy so I tend to keep it on me a lot.

Kindle Got this for Christmas, so now I carry my Kindle around instead of a book.

Bike Light This is either on my bike or in my bag.

Pens I have a lot of pens. I used to draw more but now I just carry them around to note down stuff or write on walls.

Bandana This is a really nice Saxon bandana I got at their show. Bandanas are very useful. www.skeletalbeach.com

RAPHA SUPERCROSS

BY GREG FALSKI

photo diary

by Greg Falski

Spring Has Sprung In Chinese medicine, winter is all about conserving your energy and getting through what is often the season that we dread the most, but that’s all behind us now, so what’s coming up?

Spring is all about new starts (the editor’s timing for the first issue of Coven couldn’t actually be any better), so it’s a great opportunity to look at your life, decide what you want to happen, and make plans. Just as our natural surroundings are waking up and going through a period of rapid growth, so are we, so you may find that you’re coming up with new ideas, creative solutions to old problems, and overcoming any sluggishness or laziness that perpetuated your life throughout the winter months.

So how can this new-found energy be harnessed? Perhaps there are things that you’d like to change about your life. Neuro-Linguistic Programming is not just a confusing name, essentially it works with the dynamic created by the mind, language, and behaviour, providing a useful framework for personal change and development: • Start by asking yourself what you really, really, want. Don’t think of the Spice Girls, and don’t limit yourself to what you feel is achievable now, reach forward and think big.

• State your goal in the positive, and avoid using words such as ‘lose’ or ‘give up’. For example, instead of “I want to stop smoking”, think “I want to live a healthier life”.

• Pick an outcome that is within your control. That means one that doesn’t totally rely on your boss, boyfriend, or Aunt Susan.

• Be specific about what you want to achieve: What, where, when, and how?

• Set a deadline.

• Break a big goal down into mini ones. Do-

•

•

• •

ing this ensures that things do actually get done within the set time frame, as well as giving you things to celebrate along the way.

Figure out what internal and external resources you already have available to you.

Clearly for a lot of goals, finances and possessions come into play, but think about your skills, traits, and experiences too.

Decide how you’ll know when you’ve reached your goal. What will it look, sound and feel like? Hold on to this projected sense of achievement and use it to stay motivated.

Identify the possible consequences of achieving your goal.

Mentally commit and get on with it!

Spring is also a time when we start seeing a lot of injuries in the clinic, particularly sprains and strains, so be careful with all that new energy. During the cold winter months, our muscles and joints tighten up in response to our physical environment, and when spring arrives, we tend to leap forward without giving our bodies a chance to limber up first. If you need a visual for this, think about blu-tack: When it’s straight out of the packet, it’s rigid, so when you try and squish it around, it breaks up really easily. Now think about how it becomes more pliable… with warmth, yup, stick it on a radiator, or rub it between your hands for a minute and it gets all soft and stretchy. Muscles are exactly the same, so please, please, please, take the time to stretch and warm up before you do any activity. Go to a hot yoga class, get a massage, sit in a sauna, or even make do with a hot shower at home.

Take care, Maisie x www.maisievillegas.com

HUGUES Desjardins UNDERCOVER

Our cover this month, 'On The Road' by Hugues Desjardins is a tribute to the Jack Kerouac novel of the same name. Available as a limited edition screen print in a run of 25.

Originally drawn to graphic design through his interest in skate culture and photography, Hugues endeavours to imbue his posters with meaning as well as beauty to draw his viewers in. Strongly influenced by books, music and film, Hugues is still looking for the perfectly composed poster but remains dissatisfied with what he has found so far.

Current projects include designing the visual identity for clothing brand MCMXC, a collaboration with French skimboard company, Coblas and continuing his poster series begun with 'Dystopia'. www.dh-grafikdsign.com