Nurture & Bloom Magazine Vol 3: TALES

NURTURE NO. 03 | TALES

FOR SOULFUL CREATIVES

Nurture Vol. 3 Tales Spring 2019 Cover Image Ferri Photography Editor Kate Cullen

Contributors Charlotte Argyrou, Kiki-Sunshine Boonwaat, Jo Bradbury, Jess Collins, Ferri Photography, Jen Feroze, Joanne Fleming Design, Nikki Frettsome, Georgina Harrison, John Hersey, Corrina Lowe, Emily Mulleady, Hayley Potter, Laura E Patrick, The Shepherd's Purse

Submissions Kate Cullen nurture@katecullen.co.uk Subscriptions www.nurtureandbloom.co.uk Logo Design Gemma Milly www.nurtureandbloom.co.uk nurture@katecullen.co.uk

NURTURE

Published quarterly by Nurture & Bloom All Rights Reserved.

A MAGAZINE FOR SOULFUL CREATIVES

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Vol 3

TALES Tala Tabula Rasa Oddly Beautiful

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Collaborate & Celebrate New Light Edward Burne Jones & The Legend of Briar Rose The Stories We Share Flourish

MUSINGS 30 37

01 Editor's Letter 14 Spring in the Garden 47 Your Power as a Storyteller 49 Writing the Stories of Our Lives 53 The Hare 58 Recipe 75 From the Forest

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MUSINGS

FROM THE EDITOR

BY KATE CULLEN

TALES For this issue I wanted to look at the role of stories in our journeys - they are intrinsically woven throughout all aspects of our lives - from the modern day snippets on Instagram, to the oral histories handed down from generation to generation.

I love to imagine the first story ever told, thousands of years ago, by the light of a fire perhaps, someone then chosen as important by the people. For stories have a power, and those that can tell them well, a special hold over us.

Stories transcend time, money or place. They can be owned by everyone and no-one. They can be used to

PHOTOGRAPHY BY FERRII PHOTOGRAPHY

inspire, to teach, to entertain, to connect. It is something so very human, the core of us.

Myth and legend and folk tales are the very things that as children we draw from, even if at a young age we do not comprehend all the intended layers of meaning. They enrich our lives each time they are

What stories have moulded you? Which spoke to you, or

recounted, and we can use them as spring boards for

challenged the way you

our art in all its forms. And so I invite you to read on

thought about things, or

through our very own modern day fariy-tale, and beyond into our members' imaginations.

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inspired you to create?

WORDS BY JESS COLLINS ILLUSTRATIONS BY LAURA E PATRICK

Once upon a time A tale Once told was torn, Reborn It's time.

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PHOTOGRAPHY - FERRI PHOTOGRAPHY CREATIVE DIRECTOR & STYLIST - KATE CULLEN FOR NURTURE & BLOOM VENUE - BITTENHAM SPRINGS CLOTHING - MADIA & MATILDA JEWELLERY - AGNES WALKER JEWELLERY ECO PRINT CLOTHING - HANDMADE BY CAROLINE FLORAL DESIGN - SARAH HARPER FLOWERS HAIR & MAKE UP -Â JENNIFER'S DRESSING TABLE MODEL - SOPHIE FOR BAME MODELS

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There comes a time when every woman must wander into the woods.

A time when the walk begins with leaves underfoot and bracken beneath.

One wanders, alert to the sounds and afraid of the shadows, she waits with baited breath.

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They told her not to come, they insisted she stay home In the safe and the warm but she was torn.

And it was time, so off she trekked.

Beware – they said, of the wolf who will come, preying on your vulnerability His agility is second to none, mark my words, he will come.

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She still went, wrapped in her shawl, Clouded by the names they had called.

Foolish child, in the wild, she will cry and surely die.

She still went.

She knew not why.

Not to die But because she knew The time for truth She had to be free She had to see

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The fear was immense. She doubted her strength Wandering wild, still almost a child at just sixteen Sweet sixteen, so nice and good Girls like this stay away from the woods But not our Roux, because she knew And so this is how her fate unfolds Trying to be brave but she was cold And so alone, she yearned for home Chilled to the bone and hungry too, she finally turned to leave And who did she see?

A shadow flash in the corner of her eye, a guttural cry – it sounded like a growl But soon she clearly made it out to be a chilling howl The wolf she had been warned off would try to track her down Suddenly she noticed blood upon the ground She realised with horror it was coming from her core Each step a trail to follow, a path right to her door She upped her speed but felt that he was hotly on her tail Hearing his feet and her own heartbeat, she knew that she had failed That they were right, she wouldn’t last the night - there would be nothing left 13

She stopped at the lake and fell on her knees, with her head in her hands she wept And with that release came her shame, seeping into the soil The blood, the salt tears and the truths they have told unfolding as she uncoiled.

Lying in wait for the wolf, she surrendered to what surely would follow

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Then cupping her hands to drink from the lake she saw something as soon as she swallowed The wolf was at her shoulder, meeting her with a steely gaze And slowly with a sense of strength she turned to be face to face In that fleeting second it was over, the fiction had become fact The wolf had gone, Roux felt strong and that’s when she turned back She knew then why they had told her not to go into the wolf’s lair The woman in the water would bare her teeth and that’s who she found there Her eyes had a sense of fire, her heart, it skipped a beat It was not a man that she’d feared but the woman in here – the woman that lies beneath.

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ODDLY BEAUTIFUL

BY NIKKI FRETTSOMEÂ - THE EDGE OF ELSEWHERE Nikki lives in wild and windswept Cornwall. She is a photographer with a penchant for freelensing,

I was a curious child, often losing myself to daydream. I found shelter in my world of muted tones, peace shrouded me, muffling the blare of reality.

intentional camera movement and long exposure.

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Being inquisitive in nature opened doors to the wonders constantly about me.

It was just a matter of adjusting your view.

My Grandparents home held a treasure.

Standing tall and inviting, amongst discarded bric-à-brac was the Dolls House.

It was built with meticulous care to detail, and armed with a key to every child's heart.

I'd been encouraged to sit silently and observe.

Didn't I know, “This is where the faeries live”!

Every visit, hours upon hours I sat transfixed, breath held, eyes wide.

Did I see?

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Yes - I soaked up the changing of light, the interaction and dance between dark shadow and piercing sun rays.

Teeny dust particles lit like diamonds, delicately falling in miniature meteor showers. Arcs of colour, refracted from tiny leaded windows.

The gentlest creaks and stretches of his old wooden frame, as he breathed in and out with the ever changing temperature.

Did I see faeries, ..no, but I saw wonder. You see wonder is all about us if we just allow ourselves the time to still our souls.

My journey now brings me here, to the now.

Fortunately my childhood observer walked beside me through to adulthood. I continually strive to be present, open eyed, and seeing.

Every day I’'m a little astonished at the 'insignificant'.

So armed with a camera, my dream-catcher, I’m able to share the images I see in my minds eye.

So I share my imagery for the curious, the rule breakers, to those who just need to take comfort in the Oddly Beautiful.

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COLLABORATE & CELEBRATE

BY NIKKI FRETTSOME

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If the long cold winter had taken its toll on my inspiration to create, I felt pretty sure I wouldn’'t be alone.

When inspiration dwindles creativity comes to one almighty brick wall. I really didn’t want to tread water for the few weeks before spring broke, I had some time, and I felt a surge of confidence to reach out to some of the incredible ladies I avidly follow on Social Media.

Working together with others brings so many rewards, and that may be a whole article for another time. For now though, as winter withdraws, maybe it’'s time to work alongside the amazing pool of talent and collaborate and celebrate one another.

"You need to be aware of what others are doing, applaud their efforts, acknowledge their successes, and encourage them in their pursuits. When we all help one another, everybody wins." – Jim Stovall ‘Collaborations work best this way; when there's a mutual desire to see what the other side adds. You know that what you're making on your own has value but the sum is more than the parts and every part knows it.” – Questlove “Collaboration is key, it takes innovation and creativity to the next room.” – Shawn Luka

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TEAM Photography | The Edge of Elsewhere Dresses | Poppy Perspective Florist | Flourish and Finch Hood | Hoodlum Clothing Veil | Sash & Veil Jewellery | PS With Love Model | Emily Tsura Hardisty

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NURTURE | AUTUMN 2018

BY THE EDGE OF ELSEWHERE 27

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NEW LIGHT BYÂ JOHN HERSEY

New Light is made by the poet in me that has no words, the impermanence of the creative environment immortalised by light and time.

John is a Photographer based in Cornwall, working with clients

Often shot through glass, or fabric, the pictures capture both growth and decay of plants, a representation of my empathy

who wish to visually communicate the quality of their pursuits, he

with sentient beings and the fragility and

tells stories about products,

resilience of life; still life images created through mediation, which ignite colour and love into my life and occupation as an

lifestyles and people and incorporates meditation practise

observer.

into his shoots to create images These pictures are my portrait of the essence of Spring, new growth, new light, a

that are sensitive to the time and environment they are created in.

daydream until early Summer.

This work is an ongoing collaboration with Becca, founder of Garden Gate Flower Company, who has grown most of the flowers in this series from seeds.Â

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NEW LIGHT Acquiesce Rose Roughly the mass of an Angel, Disconnected from the Earth, The flower surrenders slowly, breathing into new spaces, manipulating new air, manifesting a new expression, withering petals pull on cosmic colour, withering hearts pull on cosmic guidance, gracefully boasting their tolerance, steady breathing stem, breaking, gently bleeding light, beautiful, sacred rose, sacred flower, sacred love.

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PHOTOGRAPHY BY THE EDGE OF ELSEWHERE

SPRING IN THE

GARDEN

ARTICLEÂ BY CORRINA OF CHAMBERS FARM FLOWERS

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For me Spring in the garden is like an introduction from an old friend and the start of a story of promise.

Snow drops however, can be planted ‘in the green’ once they have finished flowering – this way they will establish much more successfully.

A story you want to relive over and over just to be part of the journey it takes you on through the seasons. After the stillness of the last months of winter, gardens come to life with Spring bulbs popping their heads through the soil. If you don't already have spring bulbs like narcissus and crocus in your garden, then you can add a touch of colour now with some primroses.

If you're lucky enough to have some snow drops you can lift and divide clumps once they have flowered to increase your stock.

Simply separate clumps into small groups of bulbs and replant elsewhere. Do this every year and you could have a lawn full of snow drops in years to come.

Spring is a good time to mulch around bulbs and perennials as they emerge, keeping weeds at bay as they too awake from their winter sleep. Getting rid of weeds as they appear is much easier than trying to dig out large clumps later on in the year. Use a hoe to clear small seedlings and dig out perennial weeds like docks with their roots in tact to ensure that they don't return!

I love the gentle butter yellow tones of our native primula vulgaris but there is also a wide range of cultivars with vibrant colours.

Their name is derived from the Italian fiore de prima vera, which means ‘first flower of spring’.

Coming back year after year, they are a true delight to see after months without colour.

Now is the time to start sowing seeds and there is such joy to be had in growing your own plants and veg from seed. You don't need any special equipment as you can start seeds off on a windowsill, follow the instructions on the seed packets and enjoy having new plants for a fraction of the cost of buying them in pots.

Many flowers have great stories and folklore surrounding them. It’'s thought that daffodils growing along river banks and reflecting in the waters, where named after the Greek God Narcissus who, according to legend was so enamoured with his own mirrored face in the river that he drowned trying to capture his reflection.

Narcissus bulbs need to be planted in the winter so if you don't already have some you’'ll have to plan for next year.

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HOW TO MAKE AN 'EASTER TREE' At this time of year, I love to bring in delicate spring flowers from the garden and arrange them in miniature forms.

A few muscari and primrose flowers look lovely in a china tea cup! A simple vase of daffodils can be a delight but be aware that their sap is harmful to other flowers and will shorten vase life.

If you are arranging with daffodils, then cut their stems and allow them to sit in water for a few hours to seal before placing in fresh water with other flowers.

At Easter we love to create an ‘Easter tree’. Bring in a large branch (you decide how large) and fix it either into a vase weighed down with pebbles or drill a hole into a large log to hold your branch stem. I dress the base of the tree with damp moss and use this to hold just a few flower heads like anemones and primroses.

You can paint the tree branches white to add a Nordic feel to the arrangement. We then hang our hand painted eggs and trinkets that the children have gathered in the tree. This makes a beautiful Easter centre piece which can develop year after year with memories saved from Easters gone before.Â

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EDWARD BURNE JONES & THE LEGEND OF BRIAR ROSE CONCEPT, PLANNING STYLING & PROPS BY JOANNE FLEMING DESIGN PHOTOGRAPHY BY JO BRADBURY

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I’ve always loved the lush beauty of the art produced by the Pre-Raphaelites, and Edward Burne Jones, often called the last of the Pre-Raphaelites, has a particular resonance for me as he was based for much of his working life in the village of Rottingdean, on the outskirts of my hometown of Brighton.

There are even a couple of his stained glass window designs in the church just around the corner from where I live…..he was a prolific designer as well as a painter, and created many beautiful stained glass windows and tapestries for his friend William Morris’s company.

When I heard there was to be a major exhibition of Burne Jones’s work opening at the Tate last Autumn, I thought it could provide a wonderful source of inspiration. - Joanne Fleming

THE TEAM PHOTOGRAPHY BY JO BRADBURY DRESS DESIGN BY JOANNE FLEMING DESIGN CONCEPT, PLANNING STYLING & PROPS BY JOANNE FLEMING DESIGN CAKES, PLANNING STYLING & PROPS BY ELIZABETH'S CAKE EMPORIUM VENUE MICHELHAM PRIORY FLORAL DESIGN BY ALL IN ONE SEASON PROPS BY WEDDING DAY HIRE HAIR BY SIMPLY BEAUTIFUL WEDDING HAIR MAKE UP BY HARRIET RAINBOW STATIONERY BY CRIMSON LETTERS SHOES BY COAST & KOI ACCESSORIES BY HF COUTURE GEMSTONE RINGS BY THE LONDON VICTORIAN RING COMPANY GOLD RINGS BY LOTTA D JOSSOU MODELS EMILY, ISABELLA & SELINA FROM MK MODEL MANAGEMENT TABLECLOTHS BY OTT RENTALS 38

We chose to take one of the key attractions of the exhibition, the cycle of paintings known as ‘The Legend of Briar Rose’ (created between 1885 and 1890), as our focal point, using the colours and atmosphere of this magical series to infuse our shoot with a similar fairytale aesthetic.

The Legend of Briar Rose will be familiar to all as the Sleeping Beauty myth, but in a world before Disney of course, Burne Jones was entranced by the darker and more complicated version told by The Brothers Grimm, who in turn were gathering and retelling older tales from middle European folklore.

"Here lies the hoarded love, the key To all the treasure that shall be; Come fated hand the gift to take And smite this sleeping world awake."

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In the Burne Jones paintings, he captures a moment when Briar Rose and all the castle inhabitants are asleep, but are nearly at the point of being awoken. We decided we’'d like to create that scene for ourselves, so we see Rose asleep, the chaise and floor covered with beautiful tapestries and William Morris prints and the posts dressed with trailing ivy.

The embroidery hoop and the spindle on which she pricked her finger are cast aside, and her courtiers asleep around her. We also see the banquet that was just about to take place as the castle fell under the sleeping spell, and the dreaming of the sleeping maidens as they remember the hours before the curse took hold.

Finally, a figure in a gilded gown is glimpsed at the castle gates.

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YOUR POWER AS A STORYTELLER

BY JEN FEROZE OF JACKDAW EDITORIAL

When I first saw the theme for this issue of the magazine, my head immediately started whirling with ideas. I was going to indulge my inner creative and write a short story full of the imagery and lyrical language that I love to play with so much; a tale of unfurling blossom and the world waking up again, or of glittering, dangerous eyes glimpsed through the dark trunks of frozen trees. I was going to get my fairy tale on.

Then I started thinking some more about the idea of story – the tradition of telling tales that goes back for oh-so-many centuries – and the more I thought about it, the more I wanted to get on my storytelling soapbox instead. So here is a brief public service announcement, and hopefully a bit of a confidence boost for anyone feeling intimidated at the prospect of telling their stories.

it belongs to you...

In my line of work as a copywriter, I regularly hear fear in my clients’ voices when it comes to putting pen to paper. There's a misconception that unless you have the unstoppable urge to write a trilogy of bestselling novels or a heartbreakingly beautiful poetry pamphlet, you’r e somehow not creative, not a writer or a storyteller. This is something I feel very strongly about. Storytelling is not a rarefied jewel. It doesn’t belong to the poets and authors of this world – it’' s a profoundly human gift that we're all blessed with as we learn to communicate with each other and muddle through our time on this planet!

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PHOTOGRAPHY BY THE WOMAN & THE WOLF

finding your voice...

Every one of us is telling stories every single day.

You’ve got your own personal dictionary, developed and coloured by your life experiences

If you’'re a business owner, it's so important that

and canon of cultural references. Whether you

you recognise and own your power as a

realise it or not, the way you refract everyday life

storyteller, because it’s through this power that

and channel it through your use of language

you'll build meaningful connections with your

makes you a consummate teller of tales.

potential clients. Don't rely on slick sales patter, trust instead in your voice and take your readers

You're doing it when you tell your partner about

on a journey with you. Building a cohesive,

your day or when you share a captioned snap on

confident and authentic brand voice for your

Instagram, when you explain something to your

business is a matter of time, persistence and

children, call a friend, or the myriad other

often trial and error, but crucially it starts with

interactions you have with people in your life

trust in yourself. You have stories to tell. They

both on and offline.

matter. Start there.

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MUSINGS

WRITING THE STORIES OF OUR LIVES

BY KIKI-SUNSHINE BOONWAAT

PHOTOGRAPHY BY FERRI PHOTOGRAPHY 49

Our lives are made up of stories.

And those stories change the way we see ourselves.

The stuff of legend, of fairytales, of movies, books and folklore, the stories of our parents lives and traditions and of those that came before them and it filters our perception of how we see the world.

They hold the emotional resonance, the energy to change how we move through the world, carry ourselves and the amount of grace we’re able to give ourselves.

Have you ever been to see a movie and left the theatre feeling as though you’re in the shoes of that character, as though your immediate environment has done a 180 and you have to double take on where you are?

So if our way of being, of thinking and living can be so influenced by the stories in our lives it also means that if that way of thinking isn’t working for us it can be changed, we can write new stories, hold new perceptions of who we are and what we’re able to achieve in our lives and in this world.

That immersion in a different world, in a different place, time, story can be something that we both fall in love with and crave.

Many of my clients come to me with a fixed story about who it is they are or what it is they believe they are capable of which holds them back, misaligned from their visions or goals.

And we carry parts of all of those stories with us.

Our learnings as children about how the world should be, as teenagers about how love should look, as adults about living the lives of our dreams.

We are our harshest critics and we lay down marks that cut so much deeper than those of ink on paper when we write the stories of who we are. Yet those marks don’t have to be permanent.

So much of who we become is determined by the stories of the people and the media that come into our lives and surround us, that stay in our hearts and change our minds.

With all of the lessons we learn from the stories that we read, hear or live not a single one of them has to scar us forever.

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We give our perception so much power, the power to hold us back from the lives that we truly want to be living, from loving ourselves, from allowing ourselves pride, from believing in our power to create what previously felt impossible.

As Pablo Picasso famously said: ‘Anything you can imagine is real.’ And it is – depending on our perception, on the stories that we hold, that we believe, that we tell ourselves about who we are.

All it takes to change the stories that hold us back is seeing them, acknowledging them, knowing that we have the power to choose to believe in that story or to write a new.

Once we begin to see how much choice we have over the steps in our lives, over the direction we take in every moment we begin to see just how abundant we really are and how our lives are made up of the smallest most significant moments of choice.

We also begin to see that who we believe ourselves to be is a fusion of those choices, influenced by the stories we have learnt, the tales we’ve been told and those moments that have changed our hearts, our minds and our biology.

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Awareness is the gateway to change, questioning our knowledge of whether something is true gives us the power to change our own stories, to rewrite our lives, to embrace every single possibility and to enjoy our lives more.

And isn’t that what stories give us in the first place? Enjoyment, pleasure, joy, they bring texture, journey and proof of our embodied state as human beings as the rollercoaster of emotion as we connect to them fills our veins.

We have the power to choose which character we play, which role we’re going to live out, which part of the story we want to be living or to create in our lives with every breath and each moment that passes.

My two year old daughter spends every single day at the moment dressed up as a different character, choosing her role, the story she is going to play out in her life, the lesson’s she is going to learn and the fun she is going to build. As adults we forget that we get to do the same.

So what’s it going to be?

What story are you going to write today?

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THE HARE

BY HAYLEY POTTER

In England, the hare is thought to be a very special creature. The hare brings luck, and in ancient times was considered to be magical.

The hare has always been a creature that has fascinated me. They are both elusive and enchanting, with an absolute abundance of folklore and stories attached to them, which seems unusual for a creature that is so rarely seen.

“The hare has always been a creature of myth and mystery…. It is an animal, whose natural history and mythology are entwined. To understand one, you have to understand the other.” David Attenborough (1) The hare is a creature that successfully crosses boundaries culturally, socially and spiritually. A creature that has inspired and fascinated us for centuries. The hare invites us to walk alongside it, in its natural environment, but also in magical and fictional worlds too – this creature mustn’t be underestimated.

(1) BBC Wildlife on One Ep 138 Shadow of the Hare (David Attenborough) (12 April 1993) 53

The hare is a creature that successfully crosses boundaries culturally, socially and spiritually. A creature that has inspired and fascinated us for centuries. The hare invites us to walk alongside it, in its natural environment, but also in magical and fictional worlds too – this creature mustn’t be underestimated.

As an artist, I find the hare to be the animal that seems to unify people in a way I haven’t experienced with any other creature. It is the creature that inspires viewers of my work to confide in me with the most amazing and sometimes personal stories. An animal, that for so many people has become a symbol of transformation and change, when the hare itself or simply an interpretation of it has appeared serendipitously at a crossroads in one’s life. Or perhaps we simply feel a connection with the hare, because, for some of us, it says something about the human condition.

My commitment to creating work about the hare began about six years ago, I received funding to embark upon a research project about folklore and witchcraft – that project turned out to be life changing in many ways, but what it gave me the opportunity to explore was women in nature. Because for many, that was what witchcraft was and still is. The hare appeared in my sketchbook when I was visualising the folklore that described women turning into hares in order to escape witch hunters. If you can attempt to move past the political and religious tension in these stories then essentially what you are left with is the hare as a symbol of women escaping into nature. Nature as sanctuary.

Nature as home. Nature as muse. Being in tune with the seasons and the natural forces around us.

“If you can catch a hare and look into its eye, you will see the whole world.” (2) A few years ago I was working in Japan, and during my time there I was asked to draw something on a white wall for one of the art schools I was working with. I drew a hare (of course) and the students and tutors were delighted. It wasn’t until that moment that I was invited into the world of Japanese folklore - the moon hare. Or even the moon rabbit, depending upon what part of Asia the story has been retold.

In the Buddhist version of this tale a monkey, an otter, a jackal, and a rabbit are invited to practice charity on the day of the full moon (Uposatha), believing a demonstration of great virtue would earn a great reward.

When an old man begged for food, the monkey gathered fruits from the trees and the otter collected fish, while the jackal wrongfully stole a lizard. The rabbit, who knew only how to gather grass, instead offered its own body, throwing itself into a fire the man had built.

The rabbit, however, was not burnt. The old man revealed himself to be Śakra and, touched by the rabbit’s sacrifice, drew the likeness of the rabbit on the moon for all to see. It is said the lunar image is still draped in the smoke that rose when the rabbit cast itself into the fire, and so the moon rabbit or the moon hare lives an immortal life upon the moon. If you look up at the moon, you may be able to make out the outline of a hare.

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t would not be right for me to miss out the story of the Easter Hare in a spring issue. In the UK, we are surrounded by images of the Easter rabbit at this time of year, but I wonder how many of us pause to consider why this is. Easter is of course a Christian story, yet there is no mention of a rabbit being alongside Jesus in the bible. There are several explanations as to why the rabbit or hare became attached to the seasonal iconography that surrounds Easter. In order to understand how it came to be so in England, we must visit German Folklore, and the Goddess Ostara (or Eostre).

The Goddess Ostara is a Teutonic goddess (3) - she is associated with the season of spring, fertility and new beginnings. She is often called Eostre, and it is believed that her name is where the word ‘East’ and ‘Easter’ originated. This is because the sun rises in the east, and this would have been associated with the increase of daylight in Spring. Ostara is celebrated at the Spring Equinox as the bringer of increased daylight and the balance between day and night. During Ostara’s time the hare was associated with transformation and rebirth, and so she is often pictured with a hare next to her. As daylight increased, so did growth and new life, she is also associated with plants, flowers and the egg. It is believed that this is why the hare or rabbit was then adopted to remain alongside the Christian festival that celebrates Jesus’s resurrection.

In Japanese culture, the hare is of great significance all year round, but particularly on a full moon. Back in the UK, the mysterious hare remains to be at its most popular in the spring, when you are most likely to spot a hare out in the open. Boxing hares and their manic behaviour during this time have inspired many creatives throughout history, and our ancestors placed great significance upon the courtship of the Jack and Jill hare. If you are lucky enough to see a pair of boxing hares, you are mostly likely watching a female (Jill) hare seeing off unwanted partners (Jacks).

Boxing hares are not usually males fighting males as is so often assumed.

In England, you are more likely to come across an Easter rabbit than an Easter hare, this is a hangover from when Christianity became the dominant religion in England. At that time, Christianity demanded its followers to be exclusive and so It was not considered favourable to remain connected to anything that may be interpreted as an alliance with another belief. This could result in persecution.

It was this courtship between the male and female hare that inspired me to create a collection of ceramics featuring dancing hares, because, if you slow down a film of them, they really could be doing a jive or a waltz.

Somehow for me, that anthropomorphism represented so much more about the hare’s character and their connection with the human condition. This series of work has evolved through making, I have loved creating a sequential narrative across blue and white ceramics, inviting my audience to collect and create their own sequence with the work.

(3)The Teutons are best known for their contribution to the Cimbrian War with the Roman Republic in the late 2nd century BC. It is possible they were Celtic but this has never been confirmed.

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“The belief that witches could transform into hares stems from a dimly remembered association with the original Goddess Ostara”. (4) So the hare had to go, but the rabbit remained a less divisive icon, one that could easily be substituted.

As with all folklore and tales throughout time, which have influenced how we now view the land and spaces we live upon, the story of the Easter hare comes in many forms.

Imagery from the 19th century continues to be used, for in German folklore it is still believed that a hare (Osterhase) will deliver your beautifully decorated eggs on Easter morning, not a rabbit.

"Whether there was a goddess named Ēostre, or not, and whatever connection the hare may have had with the ritual of Saxon or British worship, there are good grounds for believing that the sacredness of this animal reaches back into an age still more remote, where it is probably a very important part of the great Spring Festival of the prehistoric inhabitants of this island." (5)

I intend to continue to explore the hare’s origins, stories and the influence it has upon us. The images accompanying this article are all original artworks and ceramics created in my studio.

If you have a hare story you would like to share with me then I would love to hear from you. - Hayley Potter (Artist & Writer)

(4) BBC Wildlife on One Ep 138 Shadow of the Hare (David Attenborough) (12 April 1993) (5) Billson, Charles J. (1892). "The Easter Hare" as published in Folk-Lore, Vol. 3, No. 4 (December 1892). Taylor & Francis, Ltd. on behalf of Folklore Enterprises Ltd. 57

SPRING TREATS

THE RECIPE

BY LAURA E PATRICK

ALMOND MADELEINES 100g melted butter 50g caster sugar 3 eggs half a lemon juice & zest 100g almond meal 110g plan flour 1 teaspoon baking powder pinch of salt

For the icing use pomegranate juice and white chocolate 58

METHOD Melt the butter in a small bowl and set aside to cool down.

Use a little of the melted butter to brush madeleine tin In a large mixing bowl, whisk the sugar and eggs for a few of minutes until it has doubled in size and foamy.

Pour in the cooled melted butter and stir well.

Fold in the almond meal, lemon zest and lemon juice.

In a separate bowl, combine the flour, baking powder and salt.

Sift it in the batter, and once completely incorporated, place in the fridge to chill for about 15 minutes.

Turn on the oven on 230’C. Pour about a tablespoon of batter in each shell. They should be about 2/3 filled.

When hot, put the madeleines in the oven and directly reduce the temperature to 170’C. Bake to 8 to 10 minutes. Transfer onto a cooling rack.

To decorate mix the juice from a pomegranate with some icing sugar.

Dip the top part in the icing sugar and leave to set then grate on a little chocolate of choice or sprinkles.

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PHOTOGRAPHY BY LAURA E PATRICK

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ARTICLE & ILLUSTRATION BY CHARLOTTE ARGYROU

THE STORIES

WE SHARE BASED ON A POSY BY SWEET PEA ROSA 61

Have you ever thrown yourself with full gusto

On a total whim, I decided to

into a creative project without first torturing

launch a Supper Club. Twenty

gorgeously refreshing.

yourself with the “how” and the “why”? It’'s

minutes after the idea had

I wanted a platform to bring together female

flashed into my mind, I

business owners in the intimate, welcoming setting of a home – not a corporate hotel or

announced the news to a small

noisy bar that provide the more familiar

online community of

backdrop for networking events. In my mind’s eye, we would meet, drink, eat, chat and

entrepreneurs that I adore and

exchange stories. And my guests would leave

trust. It would be called “Creative

with a full belly, an expanded contact base and at best, a budding friendship.

in Residence”.

What happened was so much more.

The idea was met with

I invited Vicky Shilling - a retreat host, wellness

enthusiasm and intrigue in equal

coach and founder of The Flourishing Pantry blog - to guest curate a menu. We didn’t know

measure – always a good sign, I

each other, but I had met her sister, who before any mention of a supper club had

think. Privately, I didn't linger

suggested Vicky and I would be a good pairing.

on the “how”, and just immersed

Quite without intention, Vicky’'s role instantly

myself in imagining the feeling

elevated to that of co-host. I set about asking

that would result in connecting

for dinner at my home. They were an even mix

another eight entrepreneurial women to join us of those I’d met a couple of times in real life

talented, creative women.

and those I purely had an online friendship with. None had I known of more than a year.

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We dismantled my drawing desk from my home studio and reassembled it in my living room to form a banqueting style arrangement with the dining table. The plates and glasses were a mismatch (no-one noticed) and the imperfections were great and many.

But our guests - from wedding, creative and wellness industries – gathered with glee, belly-laughed, and opened their hearts exchanging tales of challenges, frustrations and successes. As hosts, Vicky and I were taken aback by the willingness with which these women surrendered their selfconsciousness, bared all, only to be met with a wild wave of love and magic.

By the next event, Vicky and I were better prepared in many ways. The menu was simpler but scrumptious, and the guests were an even more diverse mix. We asked two business coaches to attend, because even though we did not want anyone to be present on official work business, we loved the idea that that a guiding voice lightly punctuated the seating plan. That makes four, and we were joined by a cakemaker, florist, photographer, interior designer, stand-up comedian, upholsterer, fashion retailer and dancer.

... a wild wave of love and magic At 1am, many of our guests remained, still sat at the table. Tales of racism, gender stereotyping, and feelings of inadequacy were balanced with school-day nostalgia, sideaching hoots of laughter and many weird, wondrous accounts of career plot twists.

The saga of our supper club is in its infancy (I hope), but the narrative is already titillating.

What began on a whim, without intention, strategy or refined vision has become one of my personal triumphs. I couldn't think of a more revitalising scenario to connect with other women, who, for a few hours, share their lives with phones away. Present and imperfect.

In real life.

Not that any of these women could or should possibly be defined by their job title. You only needed to hear their stories to know the richness of experience that led them to our gathering.

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3 TIPS FOR STARTING YOUR OWN SUPPER CLUB 1. Invite guests from a variety of backgrounds, industries, ages and experience levels. It makes for the liveliest conversations.

2. Don't be plagued by perfectionism. It really doesn't matter if your home is small, the crockery is mismatching, or you need to borrow a chair from a neighbour.

3. Take the pressure off the food, however possible. Prep in advance, ask guests to bring their own creations or order takeaway. A relaxed host makes for a much happier gathering.

CREDITS PHOTOGRAPHY: DONNA FORD CLICK TO FIND OUT MORE ABOUT THE CREATIVE IN RESIDENCE SUPPER CLUB HOST: VICKY SHILLING HOST: CHAROLOTTE ARGYROU

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FLOURISH ARTICLE BY MICHELLE FROM THE SHEPHERD'S PURSE PHOTOGRAPHY BY GEORGINA HARRISON

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Having grown up in the ancient seaport of Whitby, North Yorkshire, it is hard not to be inspired by the heritage of the area and the comings and goings of a busy fishing port.

In the early '80s, my parents renovated the old jet workshops in Sanders Yard. Now The Shepherds Purse guest house. In its hay day, The Old Workshops would have been a busy and noisy place full of jewellery makers and merchants. Jet is a wonderful and mysterious stone, (fossilized monkey puzzle tree) used to ward off evil spirits, Jet is grounding stone and has intense purification and protection properties. Also made popular by Queen Victoria in the Victorian era, as mourning jewellery.

As children born in Yorkshire, stories of Cottingley fairies, Shipwrecks and Viking invasions fuelled the imagination. Trips to the local museum which host one of the largest and most hidden collections within Whitby Museum ignited a love of flowers.

There are over 9000 specimens of pressed wildflowers all tucked away in cupboards to preserve their freshness. It was quite a popular hobby during the Victorian age to collect specimens of wildflowers and press them to form a herbaria collection. I love the idea of ladies having hobbies and passions, from a young age we all loved to collect things, little treasures to keep and admire. I hope those passions do not get lost in today's world. Is it time to switch off and enjoy the simple pleasures of nature that surround us? Long walks on the beach collecting shells and sea glass. Woodland walks and the joy a garden can bring.

With our little flower school, we really want people to get away, switch off and get back to basics. To enjoy peaceful moments, the sound of the sea and the enjoyment an unusual flower can behold upon our imagination. Looking upon and creating a beautiful arrangement, knowing its beauty will fade but to enjoy it at that moment, when nature is at its finest.

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NURTURE | AUTUMN 2018

BY GEORGINA HARRISON

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It all started on a winter's day sitting with my father surrounded by damp moss, fragrant foliage, lichen covered branches and interesting seed pods, making wreaths to sell at Christmas. I was instantly hooked. By the next year, we had started our first wreath making workshop here at The Shepherd's Purse.

Flowers, herbs and plants had always been the most important aspect of our family traditions. From Grandfather's abundant vegetable plots and glorious roses, to my family kitchen garden in our childhood home in Egton. I was given my first flower bed at the age of 5, where I played endlessly with flower faeries among the hollyhocks and roses, surrounded by the lush smell of the lilac blossoms that generously bloomed for my birthday. My mother, Rosie, showed me how fresh flowers soothe the soul and give a meditative quality to life. I spent hours drawing them, studying their shapes and textures. She watched on with a mother's kind and loving reassurance, she knew I would always enjoy the company of flowers.

I find myself continually inspirited by a melody of colour, overgrowth, and general untamed loveliness found in the natural world. I believe the indigenous ingredients create an authenticity to my colour palettes and textural floral story. Later, when I travelled to the Mogul gardens of India and the ancient groves of Morocco, the enchantment of flowers as an object of desire was instilled. I became enchanted by the fragrance of flowers, the magic of aromatherapy, the ancient connection we have with the natural world.Â

Find out more about Michelle's 'Flourish' workshops and Flower School on her website www.theshepherdspurse.com

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FAIRYTALE MAGIC & MYSTERY

A KINDRED LOVE "When the lovely Michelle booked me to Georgina Harrison is a

capture her website and portfolio images for

photographer residing on

her Flourish and Wellbeing courses, I was so

the North Yorkshire coast

excited. I always feel it’s imperative to find

not far from Michelle from The Shepherd's Purse (a

people who you are inspired by and excite you,

florist, beautician and make

who share the same ethos and vibe. That way

up artist). Together they

you will get the best images." - Georgina

created this beautiful photographic story.

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NURTURE | AUTUMN 2018

BY GEORGINA HARRISON 73

Heritage and a sense of place are both massively important to Michelle and I. But we also share a kindred love for fairytale magic and mystery, flowers and plants, lotions and potions.  Michelle’'s workshop is just an absolute gem, brimming with so many treasures so I knew we would get some amazing images.

We also wanted to add a little dark romance into the mix echoing the hustle and bustle of a bygone era and cobbles of Church Street, so we headed up to Black Horse yard using the darker tones of the cobbles and old wooden doors.

BY GEORGINA HARRISON

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FROM THE FOREST

Yet other stories, my favourite ones, are those which are half-told.

Where you come across a trace of something. You see the flash of a bird disappearing, or a small, lone feather perfectly resting on a fallen branch.

BY EMILY MULLEADY

We all know how art and stories have forever been intertwined. Like the forest, artists have depicted full stories in a single scene, recounting everything from Greek mythology to Victorian morals, but what engages a viewer more than a piece where they must complete the story with their own?

I once lived in a forest. It was the place that I started drawing again.

Light. Dark. Enduring but fragile.

And so much life quietly - and often not so quietly! - taking place amongst the leaves between the sky and the green and rust undergrowth. The keeper's cottage we lived in was no gingerbread house, and no witch (that I knew of) lived deeper along the mossy wooded track lined with bursting green shoots, but it was magical and full of tales.

The art is no longer just a collection of pencil, ink or paint marks, but an image that is explored and means something to them.

Sometimes I would be told of the stories of the forest. There were legends of Dick Turpin and lost pools, and of royalty and poachers of years gone by. Sometimes narratives played out live before me, such as the dark fallow deer holding purposeful meetings between the ancient beech.

As creatives, this idea gives us the freedom to allow a certain wonderful simplicity and subtlety to our work, without feeling that we need to say everything to everyone.

I may have my own story behind a piece, but others will add to that and make it come alive.

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To me, I remember exactly where I found this little feather on that first warm spring day, my thoughts as I have tucked it into my pocket. To someone else, my drawing of a feather might make them wonder what bird the feather comes from and where it is now, or it will have spiritual connotations, represent truth or innocence, or even remind them of someone loved.

The rough sketch of a sparrow in flight is just the start in creating a more detailed piece and will, in time, try to capture a little moment, where I hope that just enough simplicity and space will be left in the piece to allow the viewer to form their own narrative for that tiny bird.

I am slowly learning that I can look at those small moments and not crowd the subject. I do not have to over-complicate creativity. I can trust in it, allowing others to breathe in the silence and what has not been said and fill it with their own story too.

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INSPIRATION & SUPPORT FOR CREATIVE BUSINESSES

We don't only make things beautiful.

We look at how and why too.

The drivers behind our creative pursuits, the passions that expand our curiosity, the inspiration from the world around us.

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