The Saltaire Review | Issue 19 | Oct/Nov 2016 by Festival Publications

ISSUE 19 oct/nov 2016

saltaire festival - shakespeare in the park - saltairelive

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Contents ISSUE 19|oct/nov 2016

5_NOTE FROM THE EDITOR 6_saltaire festival 12_salts mill book 16_saltairelive 22_shakespeare in the park 28_international print biennale 32_on the cover: james bywood 36_lame studios 38_picks of the month 42_what’s on?

SUBMISSIONS on the cover This month’s cover was designed by James Bywood, whose illustration of Salts Mill is the latest in a series of covers curated by Saltaire Inspired. If you’d like to feature on the cover send your entry to submissions@thesaltairereview.co.uk The deadline for submissions to the next issue is 11 November.

If you would like to contribute to the Saltaire Review email submissions@thesaltairereview.co.uk. We’re always delighted to hear from writers, photographers and anyone involved in a local group or activity.

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This magazine is published by Festival Publications Ltd. While every effort has been made to ensure the accuracy of content we accept no liability for any resulting loss or damage. Views expressed by contributors are their own and not those of the publisher. ©Festival Publications Ltd. All rights reserved. No reproduction or copying without permission.

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AD DESIGN: Thanks for picking up the October/ November edition of the Saltaire Review, an issue that marks our second birthday.

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During that time we have published 19 magazines, hundreds of stories and had the privilage to work with dozens of fantastic contributors. So a big thank you to anyone who has helped us reach this point.

Words & pictures:

In this issue we reflect on another succesful Saltaire Festival, with a brilliant review by Eddie Lawler. It is easy to forget that the event nearly didn’t happen this year, so to see such a high quality and varied programme enjoyed by so many people was fantastic.

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Haigh Simpson, Mike Farren, Lauren Fitzgerald , Eddie Lawler, Maggie Smith, Chris Brook

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It was also interesting to see so many ‘fringe’ events popping up around the village such as Yard Fest, The Edward Street Jamboree and the Disco Barge. I think one of the things this magazine has hopefully demonstrated over the past two years is that Saltaire is full of creative people with a will to make things happen. Long may it continue... haigh simpson

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Saltaire

Festival By Eddie Lawler

Another Saltaire Festival – the fourteenth – come and gone. Back in January, with the possible loss of sponsor, the resignation of the treasurer owing to moving away and the general pessimism that goes with winter, there was a crisis meeting. Today we can ask, what crisis?

came when Clare introduced her music teacher from Eldwick, John Bousfield, who joined in on clarinet on a rousing rendering of All of Me. She sang It Might As Well Be Spring against the background of Hockney’s Arrival Of Spring – maybe fortuitous but that’s what celebrations can give rise to.

I had a gig myself, (well-supported, thanks!) on the Festival Thursday, but was otherwise footloose and visited some events on my doorstep. These are my personal highlights - there must have been many other good things, but you can’t be in two places at once, as Saltaire Festival invites you to be.

I can’t comment on anything midweek except my own gig, but the main weekend provided many delights. Of course the weather was the best of the year, and that made a contribution, but even had it been dull or wet… I got to the top of Salt’s Mill for the exhibition The Power Of Water, almost lost in that vast space but nonetheless a reminder of the recent floods, with some delightful creative work from local schools and dominated by plenty of Hockney Blue. For me it’s just a pleasure to enter the ‘lobby’, i.e. the top floor of the mill, whatever’s going on there. Perhaps we can turn minds to using this space for something musical some time. (Or even better, making it a powerhouse for community solar energy...)

Clare Teal brought a trio of jazz maestros to the Mill on the first weekend, a sell-out, 260 folk in the top Hockney gallery. This was my first highlight. A local lass - from Kildwick she gave us a musical tour of her inspirations, from Ella Fitzgerald to Doris Day, plus her own compositions, presenting the show with a sharp Northern humour reminiscent of Victoria Wood. A genuine local element

Down below in the old weaving shed, now the Arris canteen, itself a superb combination of industrial mill with modern working environment, there was the exhibition Shanghai Odyssey presented by Bingleybased painter Jane Fielder and photographer Mike Kilyon. I know Jane’s paintings of Saltaire and Bingley as a kind of realism with a twist of mystery, but this is the prolific result of a short visit to stunning Shanghai. I was both stunned and educated by Jane and Mike’s juxtaposition of old and new in Shanghai, the result being some very beautiful and thoughtful works of art. I then enjoyed the afternoon outdoor Live Room music at Caroline Club, in particular the set by Fie Fie Fie – somewhere between Spandau Ballet and Madness. Saturday evening was complete with a visit to the celebrity concert in the Mill as part of the harp-themed weekend put together by the Early Music Centre. Performer Nikolaz Cadoret from Brittany switched between elegant, elegiac and electrifying. Through Saltaire Live’s gigs we’re accustomed to jigs, reels and their combinations and variations performed by world-class groups. This was a world-class

soloist who exploited these rhythms and more. On the Sunday we had a brief visit from relatives, and solved the lunch question with a walk up the Continental Street Market. When the Festival first started the Street Market stallholders wondered, on a murky afternoon, why they had been invited to this strange street which was not a city centre. Many have become regulars meanwhile. It was great to have inspirational guests from far afield at Saltaire Festival, but in essence and to its credit it remains a local festival, appropriately supported by the local council, and thankfully based on the willingness of locals who treasure community to work their socks off for no reward other than the pleasure of seeing it succeed. I was happy, as a ‘complete unknown, just like a rolling stone’ with thousands of smiling faces around me, to complete ‘my’ festival in the company of Last Orders rocking them in the Park, then Eddie Earthquake and the Tremors, rolling us smiling survivors outside Caroline Club with the Mill chimney standing proud in the sunset glow.

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Saltâ&#x20AC;&#x2122;s legacy New book to explore the fascinating history of Salts Mill

Saltaire History Club were approached by Amberley Publishers late in 2015 asking if any local historians would be interested in writing a book about Salts Mill. At first it seemed as though a coffee table-type book was in their thoughts – lots of images and not too many words. Maggie Smith, on behalf of fellow historians, communicated their collective thoughts that such a coffee table book had been available for some time. She suggested that a different book, a book that covered the owners and managers of the Mill from its foundation by Sir Titus Salt in 1853 to the ownership by Illingworth, Morris and the end of the Mill’s textile production in 1986/1987 would be of more value. Little has been previously written about the late nineteenth and twentieth century eras at Salts Mill, yet these periods involved major events for the UK economy and the textile industry - for example, worldwide depressions in the 1880s and 1930s and two World Wars. Thus the owners, managers and workers lived and worked in the context of many dramatic events. Agreement was reached and a new book - Salts Mill, The Owners and Managers, 1853 to 1987 - has been completed and will be available from major booksellers - Waterstones, Amazon and Salts Mill - from 15 November 2016. This book has been made possible thanks to intense and detailed new research by Colin Coates into the leading characters involved. These include John Rhodes, Isaac Smith, John Maddocks, Sir Henry Whitehead, Arthur Hill, Ernest Gates, Sir Frank Sanderson, Robert Whyte Guild and the Ostrer family. Other historians - Dave Shaw, David King and

Ian Watson - have contributed their work, their files, their comments and suggestions, Sandi Moore has found some key images from the Saltaire Archive and Pauline Ford has provided vital information to complete the jigsaw for Titus Salt Junior. It has been a collaborative effort and the proceeds from the book will go to the Saltaire History Club. The book reveals many new facts, for example, the dominant role played by Charles Stead – as partner to Titus Salt Junior – and the burdens placed on Sir Titus Salt’s descendants by the provisions made in his will. It explores the investments in coal and iron ore in Dayton, Tennessee by Titus Salt Junior and Charles Stead, and poses important questions as to what factors may have caused the Salt family’s loss of the Mill and Saltaire village in 1892 just 16 years after the death of Sir Titus Salt. For the first time this work explores the nature of the three businessmen who formed a consortium with James Roberts (later Sir James) and brings to light information that could explain their relatively short-lived partnership. In writing about Sir James Roberts the book aims to fully understand his very important legacy and acknowledge this publicly. The key events are explored - the end of the private company founded by Sir Titus Salt, the formation of a public company in 1923, the sale of the village in 1933 by the syndicate of Bradford wool men, and the nature of the Illingworth, Morris era of ownership from 1958 to 1986. The co-authors, Maggie Smith and Colin Coates, hope that the work will spark further in-depth research into the fortunes of the Mill and the village in the twentieth century.

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Folk will talk An interview with SaltaireLive promoter Simon Heginbotham By Haigh Simpson

For well over a decade Simon Heginbotham has been bringing some of the finest acts in folk and Celtic music to Saltaire to perform at the SaltaireLive concerts in Victoria Hall. The event has attracted world-renowned acts such as Capercaillie and Bellowhead and introduced its loyal audience to a wide-range of musical talents from the British Isles, America, Canada and other parts of the world. With a new programme of exciting acts announced for autumn and winter the event is showing no signs of slowing down and I caught up with Simon to find out more. How did SaltaireLive come about? There used to be a series of gigs run from Victoria Hall back in the 1990s by Mandy Farrar, who also had a bookshop - Bodhran Books - on Victoria Road. Those events came to an end when she moved away and for four or five years the only way to see the top folk and Irish bands was to go to places like York and Manchester. They just weren’t playing around here or even in Leeds. So I thought I’d have a go at trying to get them back on again in Saltaire. That started in October 2003 and, having thought the audiences would be small, people really went for it. The first year we had five shows with 400 tickets each and we sold 1,998 of them. We only had two unsold tickets! So right from the start the audiences were great and we had a good footing to continue. So do you think there is a ready-made audience for that kind of music here in Saltaire? We do have a very strong local following, as evidenced from the fact that a lot of the tickets get sold from Fanny’s Ale House. But because the shows are quite large - you need 200-400 people to fill the place - you do need people from elsewhere to come here for them to work. I actually think that, for any of the shows we put on, there are around 300 people living within a mile of Victoria Hall who would love

Eddi Reader performing at Saltaire Live

the show if they knew more about the bands and decided to come along. But of course we don’t often go to things we don’t know about - I’m sure I’ve missed lots of brilliant gigs happening nearby because I didn’t know who the band were. There are a lot of people around here who do enjoy live events and want something that isn’t mainstream. Obviously folk and Celtic music is fairly niche, but Victoria Hall is a great venue for it. The atmosphere in there and the character of the building means you can get a really good feel. I remember someone once said to me “The great thing about this gig is that it has the relaxed feel of a folk club, but with larger acts.” How do you choose who to put on? It’s a combination of what people tell me

they want to see and what I think people who come to SaltaireLive would enjoy. Often that’s something that they maybe haven’t heard of. We’re lucky to have enough of a following to be able to put something on and say ‘This is special’ that people will trust us and come see it. Of course some people will only come along to what they already know and that’s fine. I don’t like every artist that I put on, but I’m quite happy to put things on that I think are good quality and that our audience will enjoy. For example we had Bellowhead on before they stepped up to the bigger venues. I don’t particularly enjoy their music, but they’re really good at what they do so I was very happy to put them on and they went down well.

“

“If I can’t send an email to my mailing list and honestly tell them ‘this is top notch’ then I won’t put it on. You can only lie to people once.”

There are one or two bands that have wanted to come that I have had to say no to because I didn’t think the quality of what they did was good enough. If I can’t send an email to my mailing list and honestly tell them ‘this is top notch’ then I won’t put it on. You can only lie to people once. Is there a particular act that stands out as a favourite gig? Dervish are always a favourite. They had played here several times in the 1990s and Mandy managed to make Saltaire their strongest audience in mainland Britain. She really built them up here and so the second show we ever did was with Dervish and they come back every couple of years. They always give great shows, the audience really respond to them and their singer, Cathy Jordan, is fantastic. Other highlights would include Salsa Celtica, a Scottish band who blend Scottish and Irish music with Salsa and Latin American music. They have really ripped the roof off the place, everyone dancing, and the atmosphere was superb at their shows.

Do you make sure the performers and bands that come here are given a tour of the place? It’s entirely up to them, but I do try encourage them to have a wander around. I do know that the singer of an Irish band called Altan came back and said ‘I’ve just bought a pepper pot for £28 in Salts Mill!’ But often they do come and appreciate the history of the place and are keen to visit things like the Hockney Gallery. Others, who might be coming here as part of a busy tour, just rush in, do their thing and rush out. What’s your overall commitment to SaltaireLive? I suppose it’s the kind of thing where you end up doing everything - booking the bands, arranging the accommodation, booking the hall, doing the advertising and the promotion and clearing up afterwards. But it’s been really rewarding, seeing some of the top names in their field who tour internationally playing here in Saltaire and audiences absolutely loving them. In the end, the reason it has worked is

Capercaillie’s Karen Matheson on the Victoria Hall stage

because there’s a very loyal audience. Obviously we need to keep getting new people in because some move away or are unable to come anymore for various reasons. But there are people who have been coming right since we started in 2003. It’s in a big hall with a big PA and the bands often have fairly big fees, so it’s quite expensive to run the shows and that relies on pulling a large audience. But they keep coming and so we’re able to keep going. Finally, what’s coming up next at SaltaireLive and what are your plans for the longterm future of the event? We’ve got a busy autumn with some fairly big names. Cara Dillon and Karine Polwart are both doing gigs here, and Jon Boden, formerly of Bellowhead, is coming as part of his first ever solo tour. For those who enjoy

lively Irish music, Mike McGoldrick, who’s the leading Irish flute player today, is here with his band on 21 October. The gig I’m particularly excited about is We Banjo 3 on 12 October – they mix Irish and bluegrass music, which is a really fiery combination, and hardly ever play in England because the demand in Europe and the US is so high. And then we’re rounding off the year with Salsa Celtica on 29 December – two nights later they’ll be playing the Edinburgh Hogmanay celebrations. As for the longterm, it’s like I said – as long as people keep coming along to the shows, we’ll keep putting them on. Details of all SaltaireLive’s shows can be found at www.saltairelive.co.uk

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Shakespeare in the Park By Mike Farren

I never intended to take part in a Shakespeare play. It just sort of… happened! Acting was something I did at university and carried on for a few years with Bradford Playhouse. Then other things filled the space. When I heard that Saltaire Shakespeare In The Park were going to put on Much Ado About Nothing in Roberts Park, my first reaction was delight at the prospect of seeing a production of Shakespeare in a beautiful local setting. My second reaction was that I wanted to interview the people behind the production (see Saltaire Review June 2016). When I started doing my research the notion began to form. I saw from the website they still had a few roles to fill and one of them, Leonato, sounded to be roughly my age. I asked for an interview.. and I

asked for an audition at the same time. The result was several months of allday Saturday rehearsals at Q20 Theatre’s studios in Dockfield Road. Fed up of being abandoned, my wife Tricia took one of the other unfilled roles, the Friar. It was a slog. Learning lines was a nightmare. It took away a significant chunk of our free time. And I was loving it, just as I had done thirty years earlier! What did I love about it? Firstly, there was the camaraderie of being part of a team working toward the goal of the production. Being thrown together with a new bunch of people wouldn’t appeal to me in every aspect of life, but when they’re like-minded people with a common aim that we’ve all freely chosen, friendships develop quickly and intensely. Then there was the challenge. Remembering

“

“It was a slog. Learning lines was a nightmare. It took away a significant chunk of our free time. And I was loving it, just as I had done thirty years earlier!”

three hundred-odd lines might seem like plenty, but there are cues, stage directions, entrances and exits. It’s a feat of memory such as I have rarely undertaken in recent years, and I was relieved that I was – more or less – able to rise to it. In fact, in the last couple of weeks, it didn’t feel like intellectual memory at all, more like a kind of muscle memory. There was also the pleasure of being able to get under the skin of a Shakespearean character. Although I studied English Literature, this was still a different exercise from any I’d undertaken. I began by taking Leonato at face value, but when I reflected on his treatment of his daughter Hero I grew aware of his flaws and took a serious dislike to him. Eventually, considering the social obligations binding him and his obviously passionate nature, I realised I needed to cut him a little more slack. Then of course, the greatest pleasure was performing in the splendour of Roberts Park, with friends and neighbours watching. I’d been apprehensive about performing in the

open air, afraid that my voice wouldn’t last the three performances, but practice in the park helped us to project without shouting. We also feared the worst when our dress rehearsal, on the day of our first performance, left us soaked from constant drizzle. Fortunately the sun hit its cue and all three performances were blessed with perfect weather. We were blessed too with our audiences, who turned out in their numbers and showed enormously gratifying appreciation for our efforts, as well as raising several hundred pounds through collections for the Friends Of Roberts Park, who were wonderfully cooperative throughout. If there were times when Saltaire itself conspired against us a little – Friday evening champagne corks, Saturday afternoon wedding bells, heedless toddlers and mischievous teenage cyclists – it only added to the sense that this was a community production, made by and for the community

and

taking

place

the

community.

Others involved with the play got the same buzz from it as I did. Director Ged Quayle, who had previously directed a successful Shakespeare In The Park production in his home town of Liverpool, told me, “I was overjoyed with my cast. Coming from a range of backgrounds from professional to complete beginner they worked together in a spirit of friendship and mutual support to hand in a production, meeting the challenges that inevitably arise from an amateur production, that I was proud to put my name to as director. It was the energy and talent they showed on stage, the coming together of people from all over in co-operation and the joy of the audience, that reminded me of the power of theatre to bring people together.” In the same spirit the show’s producer Stephen Pearson told me, “It was a great success. Everyone worked very hard to make it so.” After the performance, of course, there’s something of a come-down from the onstage highs. After getting one’s breath back, thoughts turn to how to recreate the feeling. Stephen Pearson is already working on a production of A Midsummer Night’s Dream – but that’s nearly a year away! Fortunately there are two groups in the area that might be able to fill the gap, and might be of interest to anyone inspired by the production. Firstly, many of the team behind Saltaire Shakespeare In The Park, including Stephen Pearson, are also regulars with SASIT – the Shipley And Saltaire Improv Troupe. This long-established group holds an

open workshop every Wednesday at 7pm at the Kirkgate Centre. With games and improvisational exercises, anyone is welcome: they promise laughs, more laughs… and biscuits! More experienced members of the group also give frequent performances, often raising money for charity with their improvised acting and comedy. Stephen tells me, “We’re working hard on taking SASIT forward and looking for a permanent space.” New on the scene is Shipley Little Theatre (SLT). This group came about directly as a result of performers from Much Ado wanting to bring more regular drama events to Shipley and the area and to fill the gap for a theatre group in the town. SLT started open workshops in September. These too are held in the Kirkgate Centre, at 7pm on Tuesday. The group aims to welcome beginners and more experienced actors and is in the process of drawing up plans for exciting productions at venues in and around Shipley. Ged Quayle tells me how the experience of Much Ado “..made me determined that the potential should not be lost, which is why when some of the cast came to me wanting to carry on making plays I leapt at the opportunity to join Shipley Little Theatre, a place for everyone to come together in that same spirit of friendship and support.” Being part of the production of Much Ado made me, too, realise the area has both plenty of theatrical talent and an audience ready to appreciate that talent. I’m looking forward to the two coming together more often! Information about Saltaire Shakespeare in the Park can be found at www.saltaireshakespeare.com For more about SASIT, go to www.sasit.org.uk while for Shipley Little Theatre, see shipleylittletheatre.org.uk

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The British International Print Biennale Hall, Bradford 1968 â&#x20AC;&#x201C; 1990

By Chris Brook

at Cartwright

There was a poster, every other year a signifier of summer at the edge of Lister Park gates. Sometimes abstract, always emblematic suggesting something modern, something new. This was the British International Print Biennale – often referred to as the Bradford International Print Biennale, not a name harmful to civic pride - housed and nourished by Bradford Museums & Galleries in the ‘Bradford Baroque’ dazzle of Cartwright Hall in Lister Park, Manningham, for around two months every two years, from 1968 to 1990. Its inception became Bradford’s sharp 1960s zeitgeist art moment. Here was an international showcase of an exploding medium - Art as Print, Print as Art. As diverse a range of techniques as was possible to represent - images utilising screen-prints and lithographs, etchings and mezzotints, lino and woodcuts, letterpress, early Xerox experiments and many mixed media. Exhibitions resulted from a mixture of an open and invited format - ten major invited British artists, a British open section, and printmakers from overseas invited to submit one print and nominate two others from their own country. By the eighth exhibition in 1984 there were 380 prints from over 55 countries, divided and grouped by continent. Works usually for sale, prices fairly low and affordable to gallery visitors as much as public collectors. Name artists like Richard Hamilton, Warhol and Lichtenstein were regulars, some works especially commissioned, but all the work, regardless of name, reputation or style, was absorbed into a much larger sense of international spectacle and arrangement.

1965 had been the year of the formation of the Printmakers Council. This new body put pressure on all art schools to set up devoted printmaking departments, and began creating touring exhibitions. Times were changing. There had been a sudden growth of interest amongst art dealers in print-publishing and a curiosity in the frisson of lithography and screen printing that was becoming rife inside a commercial art market. The climate was certainly bright and right for a gathering together of accessible, often radical art - exploring modernist sensibilities and experimental techniques within the medium, as a celebratory forum. A great scale of inclusion and democratisation uncoiled through this Biennale’s fresh process of presentation. The curatorial ambition had a facility of outreach impossible in other mediums – a kind of reprographic, single art form celebration, busy harnessing the intrinsic logic of its own technology. While the costs of transport insurance prohibited any similar gathering of paintings or sculpture on such a scale, the print, a multiple work of art, represented a robust and portable transmission from anywhere in the world towards a rack of serviceable frames lying in wait at Cartwright Hall. The First British International Print Biennale opened in 1968. The colour offset lithograph poster for the inaugural exhibition was Bradford Tree 1968 commissioned from David Hockney. This was an inevitable and sensible choice for the Biennale’s first publicity - a Bradford artist with a widening reputation who’d not just gone down to that London, but got caught up in that Pop Art Swinging London too. His impact in the Young Contemporaries Royal College exhibition with Peter Blake had boosted a hipand-happening trajectory as major British artist.

But Hockney was also a regular presence as participant at London’s Print Workshop in Fitzrovia, set up by his friend, Birgit Skiöld - who was to become instrumental in establishing the Bradford Biennale’s ethos. A Swedish printmaker and artist, living in London, Skiöld was originally inspired to experiment with print through the influence of a lithographic exhibition by proto-surrealist Max Ernst. She broke new ground in establishing her Print Workshop in a Charlotte Street basement in 1958, which ran until 1983. In contrast to other studios orientated towards editioning and publishing, this became the first open access space in London where, at a low cost, artists could collaborate, create and produce prints with the equipment and technical help required. It was, she said, “not a business, not a college, not a gallery, simply an idea which has worked.” This ‘idea’ became a destination for artists including Allen Jones, Jim Dine, Dieter Roth as well as Hockney, all keen to use the facilities and share techniques with Skiöld. She’d become influential - pioneering and championing the status of printmaking as art, an advocate for the artist’s print in all its manifestations, and a conduit for hybrid new technologies as printmaking underwent its transformation in the 1960s and 1970s. Important to the artistic avant-garde, as much as to the bold new typographical marketing struts in music, book and theatre advertising. In 1965 Birgit became a founding member of the UK Printmakers Council and her involvement with Bradford emerged after her marriage of that year to Peter Bird. Bird had been involved with the Print Workshop but was to land the job of Director of Bradford City Art Galleries and Museums. With his Director’s brief and her creative fervour and

Swedish artist Birgit Skiöld, who inspired the Bradford Biennale

contacts, both would become progenitors and worker bees of an original Print Biennale blueprint. Another agent in the scheme, initially publishing and printing the exhibitions lavish catalogues, was Lund Humphries, a major Manningham printer and typographic luminary with London bi-location and deep connections within British art publishing and printing. From 1968 until the eleventh and final exhibition in 1990 the Biennale continued to glow intermittently. By 1984 it was having to justify its very existence, under threat from a Bradford Metropolitan Council who’d ‘been forced’ to cut funding, suggesting this eighth show could be the last. Paradoxically, while its international status was cemented, its national role as a printmaking expo was on a cultural terrain of quicksand. 1986 saw another three month exhibition and a second Hockney poster. In 1988 changes in the perception of ‘International’ were evident - scaled down here to focus on Britain and Australia and for the final year in 1990, Britain / Canada / USA. And then it was gone.

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James

Bywood How would you describe your artwork? Trying to keep it simple, I would suggest my work is an expression of how I see, remember and then reinterpret landscape and cityscape imagery. Do you have a preferred style or medium? I use photography and my memory as my source material. I work initial ideas up into finished pen, ink and watercolour images. I then translate these ideas into a screenprint, an image created using a number of individual coloured layers. The different colours that constitute a finished piece are translated from the initial sketches into a Photoshop document on my Mac. From there I generate a number of stencils that when laid on top of one another create the final finished image. The image on the cover of this magazine is created using three different colours, the first layer is the blue, then the orange, finishing with the black. When did you decide you wanted to become a full-time artist?

Iâ&#x20AC;&#x2122;m not one as yet! I also work part-time as the marketing manager for a wholesaler based in Huddersfield. I enjoy the two different worlds, but would dearly love one day to take my creativity and turn it into a full-time business. It is, however, hard to make the leap, especially with a young family and mortgage to help finance. Who are your biggest influences? I would say artistically it would be the Impressionists. Their use of colour, shape and gesture to evoke a time and place was truly revolutionary at the time and still makes me gasp with admiration today. What inspires your work? My dear wife-to-be Aisling has had a huge influence on me. She has taken a layabout and turned me into the hard-working person I am today. Without her work ethic I donâ&#x20AC;&#x2122;t think I would have achieved half of what I have at this point.

What’s your relationship with Saltaire? Like most people, I guess I discovered Saltaire via Hockney and Salts Mill. More recently I’ve been part of the amazing Saltaire Arts Trail, both as a punter and exhibitor. Having shown work in three different houses in the village, and in Victoria Hall, I feel I now have Saltaire in my blood just a little bit. What are you working on at the moment and what are your plans for the future? I’m snowed under with new ideas, commissions and upcoming print fairs. Currently, the next event I’m working toward is the Leeds Print Fair which is on 5 and 6 November at the Corn Exchange.

in an old shop on Vicar Lane. Alongside a group of like-minded printmakers and designers, we’re developing a much-needed space in the city centre for the teaching and development of printmaking. It’s early days yet but hopefully, with some funding support, we can make it work. More information can be found at www.leedsprintworkshop.org Where can we find more of your work? I have a website at www.jamesbywood.co.uk where you can find all my recent work. I’ll be developing the image from the cover of this magazine into a limited edition screen print in the near future. Keep an eye on the website for more information.

I’m also helping launch The Leeds Print Workshop, a new co-operative venture based

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Sunday 23 October, 11am - 3pm Join us for a very special wedding fair, with a range of exhibitors offering beautiful solutions, contemporary and vintage inspiration to create a truly memorable wedding day. Free entry, and with a little gift for the first 50 brides or grooms. Registered Charity 511978

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HEATHER

The Live Room@Saltaire 'The best all round roots music club in West Yorkshire'

at the

Stray Birds (USA) Friday 7th October 8pm

False Lights Friday 28th October 8pm

Jerron ‘Blind Boy’ Paxton (USA) Friday 21st October 8pm

Carrie Rodriguez w/Luke Jacobs (USA) Friday 4th November 8pm

Join our Chorus @theliveroom.info and receive all the discounts including £2 off every gig!

www.theliveroom.info t: 07791 596671 / 07855 164182

Lame Studios By Lauren Fitzgerald Lame is a new creative studio in Saltaire with a fresh approach to art. Their work is crisp, clean and bold, focussing on visual simplicity in contemporary culture.

has recently become concerned with domestic spaces, furniture design and the functionality of objects. They bring their independent practices together in their work at Lame studio.

Founded by Amy Dunnill and Luke Terry Lame Studio is a product of their combined artistic practices. They recently began to work together when they realised their work was concerned with very similar aspects. By working together and consolidating their efforts Lame Studio was created and their first major project is due to be released in October.

They aim to provide a quarterly journal, which will contain visual explorations of places, processes and people. The first of these journals is due to be released in October. Their aim is to create something that conveys their own aesthetic whilst also being an object people can enjoy. The content in the journal stems from their own personal interests and experiences and their first volume will focus on three main features, Yorkshire, their friend and local artist Katrina Cowling and their new found love, Ceramics.

Luke graduated from Falmouth University with a degree in Fine Art in 2013 and Amy is currently studying Fine Art at Leeds College of Art and is due to graduate next year. Between the two of them they focus on a variety of different aspects of art. Luke is a sculptor interested in place and surface, where Amy comes from a drawing background and

Alongside the journal, Lame Studio creates objects and images with the aim to soften the distinction between art and design, nonfunctional and functional.

Alisa’s Ballet Fitness Get into shape, develop and maintain f lexibility, improve strength and muscle tone by joining Alisa’s Ballet Fitness classes in Saltaire. For information contact: alisa-ballet@hotmail.com • 07941870974 www.bodylogix.co.uk Bodylogix Studio, 1a Oaster Road (above bar 56), Saltaire, BD18 4SD

BESPOKE PRODUCTS FROM BRITISH-BASED MAKERS • Handmade homeware and gifts • Craft Classes and Parties • Craft Supplies • Unleash your inner crafter!

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Picks of the month The Rocky Horror Show For the season of Halloween, with much anticipation, Victoria Hall bring you this iconic cult classic. The screenplay, directed and written by Jim Sharman and Richard Oâ&#x20AC;&#x2122;Brien, is based on the 1973 hit musical stage production The Rocky Horror Show. A straitlaced couple seeking shelter from a storm find themselves in the castle of a mad transsexual alien scientist intent on creating a buff bodybuilder. Don your suspenders, grab a drink at the bar, practice your Time Warp routine and sit down to enjoy this part musical, part horror story masterpiece. 6 October, 7.30pm Victoria Hall. Tickets ÂŁ5.50. Fancy dress optional. www.victoriahallsaltaire. co.uk.

Stray Birds at The Live Room

We Banjo 3 at Saltaire Live

The Stray Birds are one of the hottest bands on the US roots music circuit and will be returning to The Live Room in Saltaire to start off a three week tour of the UK. Since first taking America by storm in 2013 they have gone on to win a huge fanbase following triumphant appearances at big festivals around the world such as Celtic Connections, Cambridge Folk Festival, MerleFest and Tonder. Since their previous performance at The Live Room in February 2014, their return has been much anticipated. Bringing with them rave reviews and a new album to showcase, Magic Fire, a live performance from The Stray Birds promises to be a memorable night and an incredible musical experience. Tickets £15

This Celtgrass sensation from Ireland have been taking the US and the European Festival scene by storm with their highenergy songs & tunes, blending together Irish and bluegrass styles. This will be their only English show of 2016 - crossing Offa’s Dyke for one night in the midst of their October tour of Welsh concert venues. With multiple Album of the Year awards under their belt, an evening of live music from We Banjo 3 will not be one to miss. Guaranteed to excite and enthrall, this promises to be a show of real entertainment and musical brilliance. 12 October 7.30pm, Victoria Hall. Tickets £15. www.saltairelive.co.uk

7 October, 8pm , Caroline Street Social Club Saltaire . www.theliveroom.info.

UNIVERSITY OF BRADFORD

“Home to some of the boldest and most interesting work in the region.” Yorkshire Post

SUPPORTING NEW WORK BY INNOVATIVE ARTISTS THEATRE * LIVE ART * DANCE * SPOKEN WORD

Our new Autumn/Winter 2016 season is now live at:

WWW.BRADFORD.AC.UK/THEATRE

SEASON OF LIGHT Forest of Light 6th-9th Oct, dusk until 10pm each evening Master light artists T-I-L-T return to City Park with an incredible new show designed specifically for City Parkâ&#x20AC;&#x2122;s mirror pool. Watch 59 giant illuminated sculptures create an enchanting atmosphere radiating beautiful iridescent shades of red, green, orange and gold.

#ForestOfLight cityparkbradford.com

Christmas Lights Spectacular 19th Nov, 5-6pm Look out for the wonderful Spark! drummers with their vibrant musical arrangements, dazzling costumes, beautiful lighting design and dynamic choreography. This will be a Christmas lights show like no other!

The Wild Woods

City of Light Lantern Parades

7th Oct, 6-10 | 21st Oct, 6-10 4th Nov, 6-10 | 11th Nov, 6-12

Listerâ&#x20AC;&#x2122;s Lanterns, 15th Oct, 6pm-8pm at Cartwright Hall, Lister Park

Explore a once familiar clearing in Darley Street, transformed into an enchanted forest where the creative spirit of Bradford grows free. Join us for a packed programme full of after dark adventures and spontaneous happenings.

www.cecilgreenarts.co.uk

wildwoodsbradford.co.uk

Darley Street Parade 28th Oct, 6.30pm, Darley Street www.cecilgreenarts.co.uk

SATURDAY 1 OCTOBER

What’s on?

Shipley Alternative 11.00am-3pm, Kirkgate Centre Shipley’s popular indy market, selling, arts, crafts, upcycled and vintage with a great café, activities for the little ones too. Free entry. Strictly Shipley Dance Evening 6pm-9pm, Kirkgate Centre Older people’s dance week event, with sequence, ballroom and a little pop and rock and roll. Including entertainment and a licenced bar. Over 50s event, free Entry for Older People’s Week. Bradford Accordion Band & Pennine Chimes 7.30pm, Bingley Arts Centre A unique and diverse musical group whose mission is to make great music whilst having fun! Tickets £10. bingleyartscentre.co.uk THESMO - women only comedy workshops 2-4pm, Theatre in the Mill, University of Bradford Led by theatre-maker/comedy-lover/ academic Natalie Diddams, this lively and practical series of workshops will unlock your inner Funny Woman! brad.ac.uk/theatre/whats-on/Thesmoworkshops

TUESDAY 4 OCTOBER Dru Yoga 5.40pm-6.40pm, Kirkgate Centre Every Tuesday Dru Yoga can be practiced and enjoyed regardless of your age or fitness level. It includes classical postures and powerful flowing sequences. Sponge Tree’s Saplings Tots and Parents 9.30am -11.30pm, Kirkgate Centre Every Tuesday during term-time Child-led sensory arts discovery and natural play inspired by colour and nature, with a nice café for the parents on the side. £2.50 per family.