The Bristol Magazine June 2021 by MC Publishing Limited

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THE

Issue 199

JuNe 2021

MAGAZINE

THEBRISTOLMAG.CO.UK

£3.95 where sold

CULTURAL

RECOVERY Bristol’s art scene bounces back with a summer of stellar line-ups

FOUNDING FATHER

Remembering William FrieseGreene, Bristol’s pioneer of cinema

SHOOTING STARS

Photographer Carinthia West captures the spirit of the 70s

FEARLESS CREATIVES

Renowned writers join thriving film & TV industry with major new venture

FINDING THE BALANCE

Bristol’s bonsai experts on cultivating mindfulness

AND SO MUCH MORE IN THE CITY’S BIGGEST GUIDE TO LIVING IN BRISTOL

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St Peter’s Hospice

46 Contents June 2021

Quince variety bonsai Image: Dan Barton

FILM & TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

REGULARS ZEITGEIST

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Millie Bruce-Watt speaks to scriptwriters Matthew Graham and Emma Frost about their new Bristol-based production company

Top activities for the month to come

HORTICULTURE

CITYIST

We speak to two of the city’s bonsai specialists about caring for the extraordinary minature trees

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Catch up on local news and meet the new West of England Metro Mayor, Dan Norris

To WFH or not to WFH

STATE OF THE ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 A round-up of the city’s museums, galleries and art exhibitions

BRISTOL UPDATES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Business and community news

As St Peter’s Hospice turns 40 this year, Amanda Nicholls meets one of the first Bristolians to contribute their time to the flagship charity shop

BEAUTY NOTEBOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Harvey Nichols’ haircare edit includes everything you need to keep your locks nourished, protected and in the best condition

FOOD & DRINK

CULTURE

TAKE THREE

CITY REOPENINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

HABITAT

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We look at the new arrivals on Bristol’s re-emerging hospitality scene

Amanda Nicholls looks at what’s to come at the city’s cultural hotspots

PHOTOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Emma Clegg speaks to journalist, actress and model Carinthia West about her new exhibition featuring some of the 70s’ most famous faces

THE FATHER OF CINEMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 As we celebrate the centenary of William Friese-Greene’s death this year, Andrew Swift looks back at a legacy shrouded in controversy

LITERATURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Bristol is set to welcome the first ever Working Class Writers Festival this October. We get to know the founder, Natasha Carthew

FEATURES 30

Simon Horsford speaks to the producer of Giffords Circus as the show get back on the road for a new season .......................................................................

Chris Yeo remembers the Bristol businessman behind an architectural landmark of the 20th century

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INTERIORS

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No 199

John Law of Woodhouse & Law gives his expert advice on featuring art in the interior that has a sizeable impact

GARDENING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Elly West explains why adding blue spaces can transform our gardens into outdoor havens

PROPERTY

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News from local estate agents and developers

ON THE COVER

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ANTIQUES

THE BEST OF BRISTOL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

BARTLEBY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

CIRCUS

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Rainmaker Gallery is celebrating 30 years of exhibiting contemporary Native American art. See p.6 p.34 for more details about its history and current exhibition. Image: Naomi by Cara Romero. The Chumash regalia is made by Leah Mata. Her jewellery is available to buy at the gallery.

LARGOS by Rosie Musgrave; Clifton Contemporary Art

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THIS MONTH WE’RE...

Mick Jagger ‘Diamond Smile’ Malibu, California 1976. Photo by Carinthia West

Artwork by Kali Spitzer

from the

EDITOR

Celebrating...

MILLIE BRUCE-WATT ACTING EDITOR

@thebristolmag

6 THE BRISTOL MAGAZINE

thebristolmag.co.uk

JUNE 2021

No 199

@thebristolmag

St Peter’s Hospice

ristol’s cultural venues are so tightly stitched into the fabric of the city that not even a pandemic managed to slow the flow of innovation. Our arts scene is very much the beating heart of the city and this month’s issue celebrates all it has done for us. As museums, galleries, cinemas and studios swing open their doors, it’s our time to show our appreciation for them. We look forward to even better days ahead and check out all the exciting events they have in store for us on p.16. This month, journalist, actor, IT girl and photographer, Carinthia West, heads to the West Country to open her latest exhibition at the American Museum & Gardens in Bath. In the 1970s, Carinthia spent her spare time photographing her group of friends, who just so happened to be some of the era’s most famous faces. On p.24, we take a look at her archive of intimate moments with Mick Jagger, Ronnie Wood, Helen Mirren, Angelica Huston – you get my drift… Speaking of famous faces, Bristol’s film and TV industry has been brimming with new developments. This month we are particularly excited to see television royalty join the lush oasis of production companies and creative hubs already calling Bristol home. From the writers who brought us Life on Mars, The Spanish Princess, Shameless and Doctor Who, comes a brand new drama production company with a slate of fearless new projects. We speak to Matthew Graham and Emma Frost about their new venture and partnership with Legendary Entertainment (p.38). With the big screen on our minds, Andrew Swift remembers the father of cinematography on the centenary of his death. Bristol-born William Friese-Greene has only recently been recognised for his outstanding contributions to the motion picture. Andrew looks back at a legacy shrouded in controversy (p.48). Although films were a welcome escape during lockdown, many of us turned to nature as a source of solace. Last year saw interest in bonsai rise sharply, most likely due to the fact that it demands mindful care and attention. We speak to two of Bristol’s experts – including the former bonsai expert of the RHS Chelsea Flower Show – to find out more about the extraordinary art form (p.46). Elsewhere in the city, we see joyous celebrations taking place. St Peter’s Hospice, the city’s only adult hospice, is turning 40 and we meet the first Bristolians to contribute their time at its flagship charity shop. We look closer at the vital work they are doing for so many (p.58). Of course, there’s all the best of this month’s events (p.22), this season’s fashion (p.14) and the latest in food (p.44) and news (p.10). The city’s streets are thrumming with optimism this month and it’s a joy to see…

Rainmaker Gallery is turning 30! Situated on the border of Redland and Westbury Park in North Bristol, Rainmaker Gallery celebrates the very best in contemporary Native American art and design. Founded by Joanne Prince in 1991, the gallery’s main aim was to share the rich diversity of Native American arts and cultures and to extend public awareness far beyond the ubiquitous narrow stereotype. Now, through artist talks, events and exhibitions, the gallery provides an opportunity for Native North American Indigenous voices to reach the UK. Showcasing original paintings, drawings, fine art prints and photography, as well as a superb collection of high quality handmade American Indian jewellery, Zuni fetish carvings and Pendleton blankets, Rainmaker Gallery is a greatly valued cultural asset to the city. Read more about Rainmaker Gallery’s current exhibition on p. 34.

Supporting... The Tour de Bristol returns on 26 – 27 June! This brilliant event covers some epic scenery in Bristol and beyond and raises vital funds for St Peter’s Hospice. With a choice of cycling 40K, 65K or 100K, riders will have the chance to explore the Wye Valley and cross the old Severn Bridge. Sign up at: stpetershospice.org

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ZEITGEIST

Sara Pascoe

top things to do in JUNE

Celebrate It’s Father’s Day on 20 June and if you’re looking to buy sustainably and spend locally, look no further than Ecomofo – a new West Country start-up specialising in sustainable male grooming products. Ecomofo’s Laboratory Perfumes are incredible smelling fragrances made in the UK using sociallyconscious, environmentally-friendly and cruelty-free ingredients. Each scent costs £70.

Laugh Heralding the return of live comedy, supersonic stars such as Simon Amstell, Sara Pascoe, Dara O’Briain and Nish Kumar are set to delight at this year’s special edition Bristol Comedy Garden. This summer's reimagined event, running from 2 – 6 June, swaps Big Top tent for an open air spectacle on The Downs with a series of open-air, socially-distanced and truly magnificent shows. The specifically redesigned event will continue to present the absolute best in stand up comedy in a safe, enjoyable and socially distanced environment. The shows are selling fast so grab your tickets while you can! • bristolcomedygarden.co.uk

• ecomofo.com

Support The RWA has launched an online donation campaign with Art Happens, a crowdfunding platform run by Art Fund, hoping to raise £20k to create a family space and a community space encouraging more visitors to enjoy and create art. The Help Us Create an Art Space for All appeal focuses on the renovation of the historic basement area into a vibrant, new space for visitors to create their own works of art, inspired by exhibitions in the upstairs galleries. The public is encouraged to donate from as little as £5 up to £995 in return for exclusive art rewards, which include a dinner with celebrity artist, Grayson Perry, which will help to complete the final stage of the RWA's major re-launch in February 2022. The campaign closes at midnight on 17 June 2021. • rwa.org.uk

Rock n’ Roll Admire A Picture of Health is a group exhibition of eleven contemporary women photographers from The Hyman Collection who have responded to subjects of health and wellbeing. Featuring autobiographical perspectives to social commentaries on wider society, the exhibition touches upon a variety of timely subjects, as those throughout the world are united by the effects of the current pandemic. Closing on 13 June, catch it while you can! • arnolfini.org.uk Image: Wish You Were Here 1. Le Cake Walk: Rob This England Heather Agyepong

The Beatles playing in Bristol

A brand new rock ‘n’ roll walking tour around Bristol has been created by a former promoter, manager and performer, who has played a prevalent part in the local band scene since 1989. With Bristol having such an iconic music history, John decided to write a walk that will take in the classic venues of the past like The Dug Out Club, where the Bristol Sound started in the 1980s; The Granary, where the likes of Iron Maiden, Dire Straits and Slade played their early shows; and the famous Bamboo Club, where Bob Marley performed in the 1970s. The walk also visits The Fleece, The Louisiana, the Hippodrome, Bristol Beacon, and Massive Attack's former club. Throughout the trail, walkers will see vintage posters and photos from famous shows outside each venue. The walks will run every Sunday at 2pm from June onwards. Running time is approximately two hours and the walk runs from Park Row to Cabot Circus. Private walks are also available on a date to suit. Tickets cost £8/£6. Advance bookings only. ■ • facebook.com/bristolrockandrollwalkingtour; fabulous208@hotmail.com

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THE BRISTOL MAGAZINE 9

ist

THE CITY

BRISTOL Museum of the Moon at Ely Cathedral 2019. Photo: James Billings

Meet the new West of England Metro Mayor, Dan Norris.

What’s your connection to Bristol?

Dan Norris with Angel aboard the SS Great Britain

I’ve lived in the West of England my whole life. I grew up in Bristol, South Gloucestershire and Bath and North East Somerset and went to local schools. I’m a life-long Bristol City supporter whose ups and down are a perfect training for politics. What is so special about the city to you?

MOON LANDING One year after its postponed exhibition, Bristol Cathedral is set to host Luke Jerram’s celebrated Museum of the Moon in August 2021. Measuring seven metres in diameter, the moon features 120dpi detailed NASA imagery of the lunar surface. At an approximate scale of 1:500,000, each centimetre of the internally lit spherical sculpture represents 5km of the moon’s surface. The installation is a fusion of lunar imagery, moonlight and surround sound composition created by BAFTA and Ivor Novello award-winning Bristol-based composer Dan Jones. The moon will be on display in the crossing of Bristol Cathedral from 11 August to Bank Holiday Monday 30 August, with opportunities to book to experience the artwork in the evenings as well. Donations and proceeds from the display of the artwork will go towards the work of Bristol-based charity St Mungo’s, who work towards ending homelessness and rebuilding the lives of those affected by it. To deepen your experience of this exceptional artwork, the cathedral will be offering a curated programme of events, run in collaboration with other Bristol institutions, including concerts, recitals, children’s craft events, and more. The full programme of bookable events and evenings will be available from the end of June. • bristol-cathedral.co.uk

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I love Bristol, it’s an amazing location – a jewel in the crown of the West that is surrounded by beautiful countryside and thriving towns and villages. We are a city of culture and heritage: in fact I officially became Metro Mayor aboard the SS Great Britain. We are the place that produced street artist Banksy, social reformer Mary Carpenter and Hollywood’s greatest, Cary Grant. We have quirky independent shops. The city's diversity is its strength. What can the people of Bristol expect to see while you are the West of England Mayor? Well, people can expect to see a lot more of me than my predecessor! I was delighted to win the election but whether you voted for me or not I’ll be a Metro Mayor who listens carefully and aims to do the best for you and your family. My manifesto laid out a whole series of plans including for 23,000 new green jobs and to make our part of the world the bee and pollinator capital of the UK. How will the green recovery plan affect Bristol? I'm a former environment minister so this is a subject dear to my heart. Like many in Bristol my politics have always been both red and green. After Covid, we can't go back to business as usual which is why I’m launching my Green Recovery Plan. I also want us to explore more working from home which can have environmental benefits. We need to hit those ambitious targets for net zero by 2030. With COP26 coming up this is a really big year. Who deserves a shout-out to for their efforts during the pandemic? When the first lockdown hit I was blown away by the response of Bristolians as mutual aid groups sprang up around the city. Of course it is terrible that we need them at all, but the generosity of people giving to food banks really

makes me proud. What we really need is food justice for all. What have you been reading/watching/listening to during lockdown? Madam Secretary, Match of the Day (that’s a must!) and plenty of briefing notes – I have been in a campaign! If you could have dinner with anyone dead or alive, who would it be and why? John Lennon. He marries art and politics. He was a visionary. Plus, he clearly had a good sense of humour. He’d be a fascinating dinner companion. What is your first action now you have been elected as the new West of England Mayor? I’ve already been talking to local businesses and trade union leaders – and the best of those visits have been in person – making the most of the easing Covid restrictions and seeing what amazing things cities like Bristol have to offer. I’m also planning my jobs and skills summit that I pledged to hold in my first 100 days. What are your hobbies? You might have seen Angel my dog on some of my Zoom calls. I love taking her for walks in the countryside. And Bristol City of course. What is your philosophy in life? To get things done while challenging assumptions and respecting those around you.

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WELL VERSED

AWE-INSPIRING DUO Two full-time NHS A&E doctors are taking to the ocean to compete in this year’s Talisker Whisky Atlantic Challenge. The race, dubbed the world’s toughest row, will see crews, pairs and solo competitors navigate 3,000 miles across the Atlantic Ocean, starting in the Canary Islands and finishing in Antigua. This December, Bristol-born doctor, Charlie Fleury, along with her teammate, Adam Baker – together known as The Emergensea Duo – are attempting to break the world mixed pair record of 43 days, 15 hours and 23 minutes. Having battled through the pandemic as frontline doctors, the two are now planning on spending 40+ days at sea in a 24-foot boat, battling 30ft waves. While at sea, they will be closer to humans on the International Space Station than humans on land. The doctors were inspired to take on this epic challenge whilst undertaking a masters in extreme medicine. They are no strangers to austere environments and sleep deprivation but wanted to push themselves mentally and physically like never before while raising money for frontline medical charities: Devon Air Ambulance, RD&E Hospital Charity, RNLI and Mind. If you would like to support and sponsor The Emergensea Duo or promote your business with a logo on their boat, visit their website: emergenseaduo.com. • To donate to The Emergensea Duo visit: virginmoneygiving.com/emergenseaduo. Follow them on Instagram: @emergensea_duo, Twitter and Facebook: @emergenseaduo

A CREATIVE EXTRAVAGANZA FUZE Bristol is a student-run creative collective, who annually put on the UK’s largest music, fashion and dance show, all run in aid of charity. As proud winners of Bright Network’s national diversity and inclusion award, this year FUZE presents ‘Utopia’ on 3 and 4 June, an interpretation of the ‘new normal’ and an exploration of what perfection really looks like to them, at Lakota Gardens. All proceeds are to support Black South West Network and Art Refuge. Inspired by their core values of creativity, sustainability, diversity and inclusion, FUZE will deliver a creative extravaganza, a theatrical fashion musical where models dance, sing, and perform their way through Lakota, complemented by an expertly choreographed collection of other multi-talented creatives. The audience, sitting in six-person bubbles, can enjoy the expressive, celebratory show, all whilst sipping on waiterserved cocktails and refreshments. From a genuinely inclusive cast and crew, to female and Black-owned businesses in the pre-show marketplace, and sustainable fashion on the runway, FUZE have ensured that everyone in the audience can see themselves and their values on stage and throughout the organisation. The importance and impact of FUZE’s community work continues to grow with this annual finale event having become one of the most anticipated events in the Bristol calendar with more than £125,000 raised in aid of charity to date. • fuzebristol.com

The Littlest Yak, the debut book from Bristolbased illustrator Kate Hindley and Hampshire-based author Lu Fraser and has been announced as the winner of Oscar’s Book Prize 2021. The duo topped the six-strong shortlist to secure the esteemed £10,000 literary prize, which was revealed by award patron, HRH Princess Beatrice. The Littlest Yak, a joyous, rhyming caper that teaches little ones to celebrate their own unique talents, follows the journey of Gertie, the littlest yak in the whole herd. Feeling like she’s stuck in her smallness, bursting to grow up big and tall, Gertie soon learns there are things only she can do, and her smallness can do something big after all. Kate Hindley is the much-loved illustrator of both picture books (including the awardwinning You Must Bring a Hat, written by Simon Philip) and fiction (The Royal Rabbits of London, written by Santa Montefiore and Simon Sebag Montefiore), as well as the authorillustrator of new board book series, Treacle Street. On her illustrations, Kate Hindley said: “Cheers to Lu for writing such a brilliant debut text. It was such a pleasure to illustrate. I’m absolutely delighted and flabbergasted to hear our wee Gertie has one the Oscar’s Book Prize. Thank you very, very much.” HRH Princess Beatrice, the award’s patron since 2017, announced this year’s winner via video message. Speaking about the winning book, HRH Princess Beatrice said: “This is a beautiful book, and the winners should be so proud of everything they’ve achieved in pulling together this beautiful story”. Oscar’s Book Prize is awarded in memory of Oscar Ashton, who loved children’s stories and died aged three-and-a-half of an undetected heart condition. This year, the prize received the highest number of entries in its eight-year history with 143 submissions from children’s writers and illustrators from across the UK. • The Littlest Yak: Lu Fraser & Kate Hindley is available to buy at local independent bookshop, Storysmith; storysmithbooks.com; £6.99

THEBRISTOLMAG.CO.UK

JUNE 2021

THE BRISTOL MAGAZINE 11

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THE

B R IST O L

MAGAZINE

Back to reality?

re you heading back to the office? Now that lockdown is (we hope) over and normality is returning, will you be popping on the old cycle clips and pedalling off to work the way you used to? Will you be catching a post-breakfast bus, or picking up a scooter and whooshing back to the land of photocopiers and water coolers, sandwich bars and conversations about football or films? I was talking about this the other day with a friend who used to be a big fan of office life. In those long-off days before Covid he used to quiz me about my working practices because they were so different from his. He took the bus every morning to a location somewhere up there in busy north Bristol, returning to our tranquil, if impoverished, neighbourhood in the evening. His day was filled with meetings and impromptu conversations with dozens of colleagues. There were lunchtime sandwiches and post-work drinks. The pre-Christmas party season started around Bonfire Night, and by the second week in December he sometimes had two or three work-related events in a single evening. Life for yours truly was rather different. Being a self-employed scribbler, and jack of various related trades, I had a desk that moved between sitting room, dining room and bedroom, depending on temperature and wind direction. My commute was about fifty feet. My sandwich was genuinely home-made. My meetings were few but exciting, as they got me out of the house. My friend found this lifestyle baffling. How, he wondered, did I resist domestic temptations (biscuits, television, gazing out of the window)? I had to admit that I didn’t, but at least I had no office-related distractions (coveting other people’s snacks, birthdays, chat). Still, I did sometimes feel – particularly around Christmas-time – that I was missing something. Occasionally I’d have a meeting in one of those office-y corners of the city and marvel at all the people walking purposefully this way and that, lanyards flapping. On a gloomy afternoon I’d look up at the brightly-lit windows, each framing a pair of women in earnest conversation, or a solemn group round a table, or a man tapping intently away at a keyboard. As property prices in London grew ever more preposterous, more and more companies moved into the new office blocks sprouting from the fertile land around Temple Meads. Some people did battle for the right to work partly from home as they strove to balance corporate life and childcare, but most didn’t. Work was a place you went to. You didn’t bring it home. I saw my friend the other day. Like many of us he was furloughed for a while last year then started in on the old WFH. He has a sort of cubby hole on the landing where an airing cupboard used to be, and at 9am every day of lockdown he conscientiously ensconced himself in front of his computer, slid his helicopter-pilot-style headset on and got down to work. How pleased he must be, I said when I saw him, that he’ll soon be able to escape this cloistered existence and rediscover the cut and thrust of office life. To enjoy once again the daily commute, the latte-to-go and the conversations about City’s latest triumph or tragedy. Well, he said. I’m not sure, he said. So far only a handful of people had gone back but most were in no hurry. Far from applying pressure to return, his company were happy with the new status quo. Their overheads were lower and their staff were getting more done. We’ll probably end up back there a couple of days a week, he concluded. To tell the truth, it’s a lot less stressful. Our conversation was interrupted at this point, leaving me feeling strangely unsettled. I found myself wanting to tell my friend, ‘You should go back – you must! Otherwise how can anything be normal?!’ Then I thought, hang on, maybe now we can meet for lunch… ■

12 THE BRISTOL MAGAZINE

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No 199

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We are hiring! We have two positions available: Sales assistant - 4.5 Days a week Sales assistant - Part Time

We have a busy shop, with a friendly environment. We are looking for two friendly team members, to join our team and help in moving forward. For more information, please email your CV to wwkemp@hotmail.co.uk Or drop into shop with your CV and we would be happy to speak to you.

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John Lewis has collaborated with chic Ibiza brand La Galeria Elefante to launch a capsule collection of seven dresses. This collection of dresses is the epitome of boho Ibiza

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FASHION | ON TREND

Staycation essentials As trips abroad aren’t an option for everyone this summer, we’re looking forward to the staycation of the year. With comfort and ease at the very heart of these trends, we look towards Harvey Nichols’ new collection and John Lewis’s new collaboration with La Galeria Elefante – a treasure trove of bohemian buys – to provide us with easy glamour inspo. Think bralettes, Kendall Jenner ‘cottagecore’, hightops, cutouts and floaty maxi dresses...

BALENCIAGA Speed army green stretch-knit sneakers £595 FREE PEOPLE Adella pink lace bra top £32

FAITHFULL THE BRAND Sonja red floral-print midi dress £190

GANNI White puff-sleeve cotton blouse £115.00

3.1 PHILLIP LIM Green wide-leg cotton-blend trousers £400 ATP ATELIER Rosa blush suede sandals £180 ARANAZ Espiral woven abaca bucket bag £230

KAYU Colbie woven straw basket bag £105 All items are available to buy at Harvey Nichols; harveynichols.com THEBRISTOLMAG.CO.UK

JUNE 2021

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THE ARTS | REOPENINGS

Cultural awakening We’ve spent a while wishing for the day we could say we did something other than go for a walk on the weekend. Now that our usually brimming arts scene is picking up again, a little helpful signposting might be in order

Image : Matt Crockett

s symbiotic as relationships come, ours with culture enriches our calendars and increases our capacity for creativity and colourful conversation, just for starters. Its importance has been simultaneously thrown into the spotlight and swept under the carpet over the past year, with underfunded organisations needing their patrons more than ever. “The pandemic has had a huge impact on Bristol’s wonderful cultural and hospitality sectors, however there is light at the end of the tunnel,” Bristol City Council’s head of culture and creative industries, Jon Finch, told The Bristol Magazine. “The re-opening [of cultural venues and visitor attractions including cafes, restaurants, bars, pubs, theatres, concert halls, museums and galleries] during late May and early June will be welcomed by communities across the city and will play a key role in the recovery and renewal of the city centre and its high streets.” As for events and festivals – key to the reputation and success of the city – those adhering to government guidance and safety planning are being considered from this month onwards. “In particular, we are looking forward to hosting part of the citywide Bristol Photo Festival at Bristol Museum & Art Gallery with four exciting and thought-provoking exhibitions throughout the building,” says Jon. “Our close work with colleagues in public health, Bristol’s safety advisory group and across the council continues to support the safe reopening of venues.” We’re so much in love with Bristol’s arts scene – the break-up was one that nobody wanted – and we can’t wait to get back together. We’ve been sitting with the diary looking at what’s to come at just a few of our many cultural hotspots.

Tobacco Factory Theatres The TFTs team – who have just flung open their doors after more than a year of closure – held back the tears as they announced their reopening. “We continue

to be astounded and grateful for the support shown by all of our audiences and communities through donations, memberships and more,” said an overjoyed Mike Tweddle, artistic director. “We couldn’t have done this without you and send our heartfelt thanks.” If you want to show some love, a ticket for Florence Espeut-Nickless’s blistering one-woman show about working-class life wouldn’t go amiss – D.E.S.T.I.N.Y. that is, developed with support from Tobacco Factory Theatres. Or perhaps you might prefer to re-enter the world of theatre with renowned music and storytelling group The Devil’s Violin and their new tapestry of tales The Beast in Me (two magicians do battle, a desperate soldier strikes a deal with a mysterious stranger, and we meet a being neither human nor animal). We’re excited to see Michael Spicer later in the year, fresh from the sphere of internet sensation, performing live on TFTs’ stage. Yep, he’s finally leaving that little room of his, but we bet he brings his headset for November’s The Room Next Door Tour. Supporting local artists, TFTs have started in-person masterclasses led by inspiring practitioners, and planned new Acting Lab classes for adults. Many shows and activities are being offered on a paywhat-you-choose basis to keep prices as low as possible yet invite contributions from those who can spend a little more to support the theatre.

SS Great Britain Engine oil in the dockyard, Brunel’s cigar smoke in the Duke Street Office, carbolic soap in the surgeon’s cabin, bacon in the galley kitchen, rum in the gambler’s cabin... If you have ever wondered whether these would be the sorts of smells you might encounter on a 19th-century passenger ship, every corner of Bristol’s Victorian dockyard – complete with two museums, dry dock and historic ship – is now open for you to find out. This season it’s all about engaging the senses with new sounds and surprises too, plus historical set dressing and plenty of outdoor picnic

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THE ARTS | REOPENINGS tables for supping a glass of pop. With passengers, crew and livestock living and working in the same space for up to 60 days at a time during voyages to Australia, the SS Great Britain would have been a pungent place. Life in steerage class could be rough and regular bathing was not common, so when wandering around the berths you may get a whiff of some stale, dirty linen. Making your way up to first class does not much improve the aromas, mind – in the ladies’ boudoir poor stewardess Annie Green is finding that sea travel doesn’t agree with her much... The ship’s kitchen is what you want to head for, where pots and pans bubble and the smell of just-baked bread escapes from the ovens. Tickets include free revisits for a year; a pretty good deal for Bristol families.

Bristol Old Vic The summer season balances breakthrough shows from poetic talent Malaika Kegode and creative opportunities for city communities. Sharing the work of South West wordsmith Malaika, Bristol Ferment’s autobiographical gig-theatre production Outlier – with soaring music from Bristol band Jakabol – premieres on the main stage this month. Genre-defying and emotional, it explores the impact of isolation, addiction and friendship on young people in often forgotten places. Launching the careers of a new generation of Bristol Old Vic Theatre School stars, in July The Three Seagulls sees 14 talented, hungry actors from the graduating year explore the very nature of art, isolation, ambition and endurance. With Olivier Award-winning director Sally Cookson they merge scenes from three seminal adaptations: Aaron Posner’s Stupid Fucking Bird, Anya Reiss’s The Seagull and Christopher Hampton’s The Seagull. The same month, a rolling programme of performance will take over the BOV courtyard. “We’ve been kept alive by the government’s support and the loyalty of our audiences,” artistic director Tom Morris said. “Responsibility comes with this, and in the depths of lockdown we’ve also had a chance to reflect on the things we did well and the things we need to improve at. We are determined to build on the successes of recent years but also to come back stronger, more connected, more welcoming and more entertaining than ever. This mini-season of summer work shows our first step in that direction and our renewed determination to welcome and celebrate every area and community of our beautiful city.”

We The Curious The UK’s first major science centre exhibition inspired entirely by the curiosity of a city’s residents is a go, with over 10,000 questions having been collected from people from every postcode of Bristol. The ground floor is now a space where art and science collide, with exhibits and art pieces themed around seven very different questions. There’s also a new collaborative working laboratory, Open City Lab, where you can meet scientists, join in their explorations and take part in research – helping to democratise science in the process. If you’ve wondered whether there’s such a thing as the soul, how you measure something you can’t see, or if it’s possible to slow down time, you can investigate for yourself; explore the habitats of aliens or reflect on moral puzzles or the nature of disease, health inequalities and how our experience of illness can shape our lives. How about a heart-to-heart with the resident robot? Indeed, would spending time with robots change how we feel about them? Working with University of Bath researcher Thalia Gjersoe, We The Curious wants to find out how children perceive robots to help scientists build better ones. The sound of entering a futuristic football stadium and playing alongside robot teammates sounds pretty fascinating – equally, helping to train an AI to recognise facial expressions using cuttingedge AI research, or finding out how researchers are using big data to check in on our mental health. Do you reckon a computer could tell how you are feeling simply from reading your social media? In the Theatre of Curiosity, consider what a secret looks like while exploring issues around power and ignorance in partnership with the Secrecy, Power and Ignorance Research Network, or find out how Bristol residents responded to the question of why rainbows make us happy as part of ‘A Lockleaze Rainbow’ and make your own pair of rainbow-inspired glasses to strut around in while seeing your surroundings in a new light. 18 THE BRISTOL MAGAZINE

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The Bristol Hippodrome The team have been keeping a close eye on trial events around the country, and the roadmap for reopening is on track. We know the first ever UK tour of hit musical Dreamgirls is due to visit, 35 years after opening on Broadway. If you don’t know the show and haven’t seen the 2006 Dreamgirls big-screen adaptation starring Jennifer Hudson, Beyoncé Knowles, Eddie Murphy and Jamie Foxx, the Dreams – Effie, Lorrell and Deena – are three talented young singers in the turbulent, revolutionary 1960s. Embarking upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of showbusiness, they test their friendships to the very limit. Nicole Raquel Dennis – a finalist on ITV’s The Voice in 2019 – has been cast in the role of Effie White, having wowed at her blind audition for The Voice while performing And I Am Telling You I’m Not Going from Dreamgirls alongside team mentor Jennifer Hudson, who won the Best Supporting Actress Oscar for her portrayal of Effie in the film.

The Wardrobe Theatre This fringe studio venue and arts hub, mixing comedy, storytelling, live music, spoken word, dance, puppetry, cabaret, drag and more, reopens on 4 June. “We’ve been putting together a fantastic mini-season of theatre, comedy and music including some of our regular and sorely missed favourites like Closer Each Day: The Improvised Soap Opera and Story Slam, plus big name stand-up comedians every Friday night from Chuckle Busters,” artistic director Matthew Whittle told us. The mini-season will run from early June to early August and will have a range of Covid-safe procedures in place including a limited, socially distanced audience and enhanced cleaning, and everyone will enter and exit the theatre through our fire exit car park which has been beautified. “It’s not going to quite be a normal Wardrobe Theatre season yet but we’re bursting with excitement with the prospect of being able to enjoy live entertainment in a room together once again.”

M Shed As well as in daily strolls around the city, street art has come to take up a prominent role in Bristol summers, especially with Upfest drawing visitors from across the world over the past decade. A new M Shed exhibition this month – ‘Bristol Street Art: The Evolution of a Global Movement’ – is exploring the creative history of our pioneering underground art scene, celebrating its legacy and instrumental role in the development of British street art, and taking in four decades. Expect rare work by leading Bristolian, British and Irish artists, including seminal works from the late ’90s. Banksy, Beezer and Henry Chalfant will feature, as will deep-fake viral sensation Bill Posters, and Conor Harrington, with works never previously seen and some not shown in public for over 20 years. Explore the evolution of street art in response to the city’s unique identity and culture – beginning with its anarchist origins in the ’80s and ’90s and leading up to the global phenomenon that is street art today. Art aficionados can also consider the growing relationship between art and sustainability via the work of international artists, all through the lens of the United Nations sustainable development goals.

The Bristol Improv Theatre Imaginative, immediate and whole-hearted, the REACT season at the UK’s first dedicated venue for improvised theatre is a homecoming for the local improv community and an illustration of the resilience of live entertainment along with the flexibility of this super-fun branch of it. Bristol Improv Theatre has deftly adapted to the constantly changing circumstances, and is now re-opening for in-person teaching and performances that respond creatively to the new normal and challenges of social distancing in live shows. The start of June sees Up the Antics return after the extended hiatus with sketches designed to flourish in the socially distant era. In the recent days of Zoom meetings and Joe Wicks, they continued to entertain audiences in their homes with their online magazine show The Antics Home Show on the Bristol Improv Theatre’s Twitch channel. To celebrate the live return, the experienced sketchers have formulated an explosive cocktail of pre-pandemic favourites with a dash of characters from their online streams. Later this month,

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Image : Julian Welsh

Image : Paul Blakemore

THE ARTS | REOPENINGS

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THE ARTS | REOPENINGS

Bristol Improv demonstrates how easy it is to maintain social distancing when you’re alone in space... In new devised piece A Space Oddity, find two performers but only one on stage as part of a lighthearted exploration of isolation and our growing relationships with computers and AI.

St George's Bristol St George’s presents over 300 performances of classical, world, jazz, contemporary and spoken word events to over 100,000 people each year. This is complemented by an award-winning learning programme in education settings across the city and a growing programme of digital work. The 580-seat venue has been presenting live events since May and as well as welcoming audiences safely back into the main auditorium, the new programme includes sessions taking place both outdoors in the beautiful gardens, and inside the new open-plan café bar extension, underneath Luke Jerram’s permanent sculpture installation, titled Apollo. The schedule for June includes spoken word, music and comedy, world music, Latin funk and Bristol’s own Lady Nade who will launch her new album Willing on 19 June in an afternoon and evening session. Other well known names include Bellowhead veteran and Leveret founder Sweeney, joined by his brilliant folk band performing on 17 July.

Embracing this optimistic season of reawakening and rejuvenation, Arnolfini, with its bonus harbourside bar and the bookshop also open again, has resumed ‘A Picture of Health’ which draws together a group of contemporary women photographers featuring autobiographical perspectives and social commentaries. It aims to de-stigmatise subjects around mental health. As part of the 60th anniversary programme, Ian Breakwell’s July exhibition, created while he was resident in Bristol, will focus on everyday life approached through overlooked, humorous or surreal perspectives. Expect a range of media including performance, film, television broadcasts, and writing, as well as painting, collage and drawing; accompanied by screenings of moving image work and responses by artists working in Bristol today. Also getting underway next month, Sir Frank Bowling summer exhibition Land of Many Waters will feature work experimenting with the painted surface, courtesy of the major international contemporary artist who is currently at rather an exciting moment in his career. ■

Image : Paul Blakemore

Arnolfini

First page: Dreamgirls is set to hit the Hippodrome later this year

Image : Daisy Tian Dai

Image : Arthur René Walwin

This page: See Malaika Kegode’s Outlier at BOV; enrol at TFTs’ Acting Lab; the cast of BIT’s improv soap opera is in a celebratory mood. Below: Lady Nade who will be launching her new album Willing at St George’s in June

Image : Jack Offord

Previous page, clockwise from top: The ground floor of the We The Curious is a space where art and science collide; Bristol Old Vic is thrilled to welcomes visitors back; make like a stinky Steerage passenger on the SS Great Britain; Bristol asks the big questions at WTC

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LOCAL | EVENTS

What’s on in June Nomadland at Watershed

Rare Beasts at Watershed

Bristol Photo Festival: James Barnor ■ Throughout June, Bristol Museum In 2009, the 80 year-old James Barnor revealed his photographic archive to two London curators. What they discovered was a treasure trove. Born in Accra, Ghana in 1929, James Barnor was witness to the country’s independence. He came to London in 1959 where he photographed the African and Caribbean diaspora. He photographed the first Black woman on a magazine cover and in 1969, he brought colour photography to Ghana. This exhibition shows Barnor’s early work; his press photography; his London portraits; and his return to Accra. bristolmuseums.org.uk Watershed: Nomadland ■ Until 10 June, various times Director Chloe Zhao’s triple Oscar winner Nomadland is an empathetic and lyrical film about people living on the road in the American West. Catch it at Watershed this month. watershed.co.uk Candlelight: Ennio Morricone, Hans Zimmer & more ■ 2 June, Bristol Museum & Art Gallery Enjoy some of the greatest film soundtracks like never before! Surrounded by the gentle glow of candlelight, you’ll listen to musical masterpieces created by the brilliant minds of Ennio Morricone, Henry Mancini, James Horner and John Williams, among others. No doubt these tracks will sound familiar, as they give life to films such as Jurassic Park, Harry Potter and Star Wars. Still, with this concert's 22 THE BRISTOL MAGAZINE

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sublime performance and stunning atmosphere, you’ll feel as if you're listening to them for the first time. bristolmuseums.org.uk REACT: Up The Antics ■ 4 June, Bristol Improv Theatre Up the Antics return after an extended, unmentionable hiatus to The Bristol Improv Theatre stage with sketches specially designed and updated to flourish in the socially distant era. In pre-pandemic times, the Antics had been performing together for almost 10 years, taken several shows to the Edinburgh Fringe and established a sell-out monthly show in Bristol. In the recent days of Zoom meetings and Joe Wicks, they have continued to entertain audiences in their homes with their online magazine show The Antics Home Show on the Bristol Improv Theatre’s Twitch channel. To celebrate returning to live performance, these experienced sketchers have formulated an explosive cocktail of pre-pandemic favourites mixed in with a dash of characters from their online streams. improvtheatre.co.uk Garden Sessions: Alain Rouamba and Josh Doughty ■ 5 June, St George’s Bristol Alain Rouamba and Josh Doughty bring together two very different musical backgrounds, combining the beautiful melodies and rhythms of the West African kora and ngoni. Alain grew up in Ouagadougou, the capital of Burkina Faso, learning his craft from a Griot family, where he was always surrounded by music. Josh was

inspired by the powerful kora music of Mali from an early age and developed his own unique style on the instrument, meshing traditional rhythms with modern western influences. These two accomplished and distinctive musical voices join forces to create a captivating afternoon of music. stgeorgesbristol.co.uk Portrait and Figure Drawing ■ 7 June, online This five-week course provides practical guidance covering a range of exercises aimed at improving composition, accuracy and observation, with a view to producing expressive and characterful drawings. Portraiture will be studied in the context of full-length figure drawing. Students will establish a solid foundation in drawing from a life model. For four of the five weeks, you will be drawing from either a male or female model. rwa.org.uk University of Bristol: Writing for Young Readers with Mimi Thebo ■ 7 June, 8-week course, online Would you like to write for children and young people? Multi-Carnegie medal nominee Mimi Thebo takes you through the issues, techniques and processes. A university lecturer in creative writing, Thebo has nurtured writing talent towards publication for 20 years. This short course uses a combination of reading, writing, discussion and workshop to stimulate your imagination and get your creative juices flowing. bristol.ac.uk

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Bristol Craft Beer Festival ■ 11 – 13 June, Harbourside, Bristol Celebrating the world of craft beer, visitors can expect over 30 worldclass breweries, pouring hundreds of delicious beers. Set on Bristol’s scenic Harbourside, beer-lovers can enjoy snacks from local vendors and listen to a stellar line-up of DJs. Keep an eye on the festival’s website for more details. bristolcraftbeerfestival.co.uk Watershed: Rare Beasts ■ Until 3 June, various times Billie Piper stars in her own directorial debut, a dark and funny, noholds-barred anti-romcom about a modern woman’s struggles in work and love. Rare Beasts explores the minefield of contemporary careers and relationships that has rarely been depicted with such frankness, intimacy and originality. watershed.co.uk Garden Sessions: Giant Swan DJ Set ■ 12 June, Trinity Centre A brand new, earth-shattering DJ set from the Bristol duo is set to grace the Trinity Centre. Giant Swan is the brainchild of Robin Stewart and Harry Wright; an acerbic marriage of energised, aggressive dance music, quaking bass, and hypnotic electronic noise. trinitybristol.org.uk Bristol Ideas: What Does It Mean To Be an Emerging Creative Today? ■ 14 June, 6pm – 9pm, online Bristol Ideas’ panellists explore the challenges and barriers young people are currently facing in the creative industries. They discuss what the creative sector needs to know, in order to become a more inclusive and representative industry. How do we champion new voices and nurture emerging talent? Multi-disciplinary artist Manoel Akure joins visual creator and co-founder of Purple Girls Collective, Qezz Gill, and artist, poet and producer, Scarlett Smyth. Chaired by Momin Mohamed, award-winning activist and advocate of human rights and equality. bristolideas.co.uk The Mansion Through Time ■ 25 – 27 June, Ashton Court Estate Eastenders has the Mitchells, Bristol had the Smyths. Join Show of Strength on a journey and meet the dynasty that gave us Ashton Court Mansion. Impostors, buried treasure, a lost ring and it’s even better than a soap opera because it really happened. Seven actors play seven characters, all with remarkable stories to tell. The Mansion Through Time is full of family secrets, buried treasure and an impostor so notorious Charles Dickens put him in a book. showofstrength.org.uk Learn all about what really happened at Ashton Court mansion

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ON NOW | EXHIBITIONS

Mick Jagger in Cedars Sinai Hospita, Los Angeles, 1976 “I took a whole series of photographs of the night Jesse James Wood was born to Ronnie and Krissy Wood. Krissy was in labour for nearly 24 hours, but myself, Ronnie, Mick, and Sandy Castle (also known as Mazzeo), Neil Young’s right-hand man, never left the hospital. When Krissy went in to labour, Mazzeo turned up at the house with Neil's hearse, normally used to transport his guitars to gigs, but which neatly doubled as an ambulance that night. We beat all speed limits to get to Cedars Sinai hospital in Los Angeles. Jesse arrived the following day. Afterwards, we rang up everyone we knew on the hospital’s bank of telephones to give them the good news, and repaired to the nearest champagne bar. It had been a LONG NIGHT.”

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Friends, not f-stops Journalist, actress and IT girl of the 1970s, Carinthia West loved to take photographs of her group of friends, which happened to include some rather famous faces – Mick Jagger, Ronnie Wood, Eric Idle and Helen Mirren, to name but a few. Over the years, she captured intimate moments and her aﬀectionate archive is now on display at the Shooting Stars exhibition at the American Museum & Gardens. Words by Emma Clegg

“

e weren’t doing something for Instagram. If we looked like s**t in the photograph, either you didn’t print it or if it was a Polaroid you tore it up. Nowadays it goes round the world in three seconds,” says Carinthia West. Yes, times have changed. As have the faces in the photographs. Carinthia is referring to the 1970s – the decade provided a real-life setting for many of us, but it has now fallen into a retro dream with a golden glow of bell-bottoms, hot pants and platforms, and has become a vintage source of fascination. Well you can chase this dream right now with a visit to the American Museum & Gardens and their new exhibition Shooting Stars: Carinthia West, Britain and America in the 1970s, a collection of 63 intimate natural portraits and lifestyle shots taken in America and the UK, running until 31 October. Carinthia West was rarely seen without her Canon camera in the 1970s and ’80s, and because of the company she kept – with close friends including Mick Jagger, Ronnie Wood, George Harrison, Eric Idle, Shelley Duvall, Helen Mirren and Anjelica Huston – her photographs are a constant source of fascination. But she wasn’t an ambitious tagger-on, a groupie or a career photographer seeking out the company of these stars – she just liked taking pictures of her friends.

BELOW: Mick Jagger, Jesse Wood and Ronnie Wood, Malibu, California 1977. “This is one of several photographs I took of Ronnie and Mick clowning around with Ronnie’s newly born son, Jesse. Life with Mick and Ronnie was exactly this; full of jokes, snatches of song, and camaraderie. “

“We were very lucky because there wasn’t much self-consciousness around. With fashion, for example, at school we just pulled everything together out of our mothers’ and grandmothers’ cupboards and pulled our skirts up when we left the school gates. “And it was all style that was unpretentious fun and it didn’t have any strictures on it. For example I used to wear red fox as a hat with the eyes of the fox and a tail. My grandmother was horrified and told me that’s what tarts wore in the ’20s and ’30s. And now everybody would be horrified for a different reason, and quite rightly. My grandmother always used to say to me, ‘stop making such an exhibition of yourself’.” Everyone is now a photographer because it’s so shoot and aim, voilà. But in the ’70s a Canon needed a level of technical expertise, right? Carinthia’s style was not driven by technical advancements, however. “I started with a Box Brownie and then I had a Konika and then a Canon and I stuck with Canon because they are great cameras. I had a wonderful Canon that sadly got stolen with a lucky red strap, an EF (electro-focus) camera. “I always use natural light, I never had lights or a studio. I am a great admirer of photographers like Jacques Lartigue or more modern photographers like Bailey, but there was less contrivance in those days. “I had a boyfriend in the early 1970s, my first great love. He was a singer songwriter, an amazing guy called Gary Farr [a British folk/blues singer and founder and lead vocalist of the T-Bones]. “He started picking up a camera and then he got into f-stops and

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ON NOW | EXHIBITIONS

ABOVE: Eric Idle and George Harrison, Chiswick, 1976. “This was taken at a New Year’s Eve party at musician Ray Cooper’s house, and shows Eric and George clowning around as they often did. They were such close friends.” RIGHT: Chris Jagger, Los Angeles 1976. “Chris and I were walking down Sunset Boulevard when we spotted this poster of Robert Palmer’s new album cover for Pressure Drop. I had modelled for the cover a few months before, but it was still a bit of a shock to see myself nude in such a public place! It became quite a cause célèbre, with everyone trying to guess who the model was. I kept quiet because I didn’t want to embarrass my parents. But when my father found out he showed it proudly to all his friends. Here, Chris is miming my parents’ embarrassment.”

RIGHT: Anjelica Huston, Malibu Beach, 1983. “Anjelica and I have been friends since we met backstage at a Saturday Night Live performance in 1976. John Belushi had passed out on the floor and we had to step over him in order to talk. One of my pictures of Anjelica, taken on the beach, was published in Vogue as her favourite photograph of herself. We’d had lunch in somebody’s house, we’d had a walk on the beach and I just said ‘Anjelica look at me’, and she just looked so natural. Anjelica said to me then ‘Who wears pearls on the beach nowadays?’ ”

MEMORIES OF... David Bowie “I shared a flat with Coco [Schwab, David Bowie’s assistant] at one point in LA. And David would ring a lot. He saw my modelling pictures in about 1979, and he told me they were all rubbish and I could have much better ones and that ‘Coco and I will style you’. And he brought in this new young photographer, an ingénue, a Peruvian called Mario Testino, who I’d not heard of. And we did this amazing photoshoot, the photographs were just fantastic and we had so much fun. Then David went off on tour and I got a call from Mario saying ‘I don’t know how to say this, but the pictures have been lost at the lab.” Years later I saw him at a party and he said ‘I still can hardly bear to think of the photographs we lost.’ “David asked me on holiday on a boat – he owned a wonderful yacht – so I went with Coco and David and his girlfriend at the time, and we went all around the Amalfi coast, so I knew him pretty well. He was a gentleman and he was very thoughtful.”

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ON NOW | EXHIBITIONS

MEMORIES OF... Helen Mirren Helen Mirren and I shared a flat in LA with Rory Flynn, Errol Flynn’s daughter, who was a model. Helen was making a big movie, White Knights, with Barishnikov. She was making lots of money and Rory and I were flat broke. “While she was in that house she won the best actress award for Cal at the Cannes Film Festival. They were ringing to tell her as she was driving up in her rented red Mustang and I was able to shout out to her ‘You’ve won, you’ve won, they are on the telephone!’. I photographed her reaction, and it’s a lovely photograph. It’s black and white but we couldn’t use it in the exhibition because technically it’s 1980. ‘She is such a lovely person and a good friend and she just hasn’t changed a bit – she is very down to earth and fun and incredibly hard-working.” Robin Williams “Robin was the most generous man. I went to Saturday Night Live a lot of times and he’d then take everyone out to dinner and pay for everybody. He was making a fortune by then with the Mork and Mindy series. If you were on the beach with Robin and you said to him, ‘Oh shut up I just want to read my book’, he’d go off and find a three year old to play with. He just needed an audience – he was so funny. I’ve never had the privilege of meeting anyone funnier than Robin and they weren’t scripted jokes, he was just natural and he’d use his body language – he’d become a tree or a dog and you were in stitches the whole time.” LEFT: Carinthia West (photograph by Caroline Forbes)

There is a mystery about taking the right photograph. A mystique – you know when you’re looking at something that really captures the atmosphere of the moment buying technical magazines and boring me rigid with what aperture he was using and I stopped taking photographs and I felt daunted by my own pictures. It wasn’t until we split up a couple of years later that I picked up a camera again. Science can really ruin things if there’s too much data, too much technical stuff. “There is a mystery about taking the right photograph. A mystique – you know when you’re looking at something that really captures the atmosphere of the moment, whatever it was. I’m reading David Bailey’s book at the moment and he was so dominant in his shoots (I modelled for him for a Woolworths ad), coaxing models with phrases like ‘Come on baby, pussycat, give me that look’, and only a man could be so ‘couldn’t give a damn’. He was just as rude about beautiful women and older women. We as women take photographs in a more subtle way.” Mick Jagger and Ronnie Wood are frequent subjects of Carinthia’s photographs in the early ’70s when Ronnie had rented a house on Malibu Colony with his first wife, Chrissie. Carinthia had a room at the house and she went in the ambulance with pregnant Chrissie when their son Jesse was born and that night there was a huge party at Ronnie’s house, Carinthia tells me. “In that period of time I’d been doing a lot of modelling and commercials and I wanted to get out of England, which was on a

three-day week and was really depressing. I had friends in California and I went out there. “All the LA London people who were there stuck together – Rod Stewart had this football game every Saturday and I have photographs of that. And then Ronnie and Chrissie said ‘come and stay’ and Mick came over to stay and then the band would appear, or Bob Dylan, as Ronnie Wood was always having all-night jam sessions.” Other friends over this period, Carinthia told me, were people such as Rod Stewart, Ian La Frenais (the writer of Porridge) and IT girl Sabrina Guinness. “The main thing about those times with Mick and Ronnie was how funny they were. It was just hilarious, all the time it was just jokes. Eric Idle was an important part of that time – he did a spin-off series of Monty Python and I became the girl in that. George Harrison worked with us on that too. Before you settle down and have kids, life is fun, and that’s what it was like.” Carinthia was clearly not star struck. So how did she keep up with all these big characters? “I don’t like saying this, but I was probably quite good fun to be around. I wasn’t a groupie and didn’t want to make capital out of them. I was brought up in diplomatic circles so I wasn’t going to talk about any of them. We all trusted each other. If I took a picture of somebody well-known now on an iPhone they might say, ‘Sorry, no’, but we were not like that then. I was very close to Ronnie and Mick at that time, and still am today. Mick always sends me the most wonderful bouquet for my birthday. “I took so many photographs of everyday life, of the market, street food, and other friends, but for the exhibitions I’ve been doing for the last 10 years people do want recognisable faces. And I’m always a bit nervous about people thinking, ‘Did she only hang out with stars?’. But I was very unlike that, and still am. Maybe that was why the stars were happy to have their pictures taken by me.” ■ • Shooting Stars: Carinthia West, Britain and America in the 1970s is at The American Museum & Gardens in Bath until 31 October; americanmuseum.org

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ON NOW | EXHIBITIONS

Helen Mirren and I shared a flat in LA with Rory Flynn, Errol Flynn’s daughter. Helen was filming White Knights, the one with Barishnikov

ABOVE: Helen Mirren and the Rollright Stones in Oxfordshire (not in the show). “I have taken so many photographs of Helen Mirren over an enduring friendship of 40 years. But then, Helen always was a ‘woman of infinite variety’ as one of her greatest roles, Cleopatra, so aptly portrayed. She is both a magnificent actress and a loyal and generous friend.”

RIGHT: Actress Shelley Duvall in 1976. “Shelley Duvall became a close friend while I was living in Los Angeles in the early 1970s, and she came to stay with me in London in the early days of pre-production for The Shining. It was almost impossible to take a bad photo of Shelley as she had such a great bone structure.”

BELOW: Mick Jagger, Holland Park, London, 1976. “This portrait reminds me of a Dutch painting, where his faux fur coat seems to blend into the bark of the tree behind him. It was early evening in September 1976 and the light was that glorious golden glow which adds to the dreamy feel of the picture”

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CIRCUS ARTS

THIS PAGE: Lil Rice in Xanadu © Gem Hall RIGHT: Nell and Red at Stonor Park © Mark Lord

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CIRCUS | ARTS

Super human Who hasn’t dreamt of running away to the circus? The big top, the acrobats, high-wire acts and colourful caravans conjure up a nomadic life away from the rat race. For the spectator, it’s a reminder of a traditional art form, providing everything from laughter to wide-eyed amazement. Simon Horsford speaks to Lil Rice, one of the stars and now also producer of Giﬀords Circus, now back on the road for a new season after the pandemic-enforced break

il Rice was drawn to the big top via her aunt Nell Gifford, the founder and inspiration behind the circus, who died of cancer aged just 46 in December 2019. I caught up with Rice at the home of Giffords at Fennells Farm, near Stroud, Gloucestershire, as she was preparing for their latest show, The Hooley (originally scheduled for last year), and I asked about Nell’s influence on her. “She was the most amazing woman I have ever known,” says Rice, “the closest to a genius I have come into contact with, and she was part of my life, the generation between my mum (pottery designer Emma Bridgewater) and me, as she is my mum’s half-sister. When she went off to join the circus, my sister Kitty and I thought she was the coolest person ever.” It was while Rice was at the University of Glasgow studying philosophy and theology that she first thought the circus might be the life for her. “I did run away to the circus. I was at Glasgow and just hated it. I wanted somewhere where I didn’t know anyone and tried to reinvent myself. “I hung out with a lot of tough people and then I thought, what am I doing? I did some waitressing and other stuff and after a while I wrote to Nell and just said ‘please can I run away; I will do anything’. It is really full on, which is what I was looking for – a life where you don’t have a minute to be bored.”

The scariest day of my life was when we climbed the London Eye at three in the morning

Until then, although Rice had been to Giffords since she was a child, the circus wasn’t on the agenda. In her teenage years, Rice (now 31) wanted to be a rock star, citing Janis Joplin as an inspiration. “I have always sung and performed. I was that precocious child who sang with my dad (illustrator and writer Matthew Rice) at the piano. I couldn’t work out why I felt so uncomfortable in my skin and think that although the music was brilliant, it wasn’t giving me enough. I like to finish the day so tired that I can’t lift my arms up. I was that child who people thought might have ADD and now they think, ‘She just needed an incredibly energetic outlet.’” With Nell’s influence and the support of Pat Bradford, a Belgian hand balancer at the circus who tap dances on his hands, Rice went to the National Centre for Circus Arts in London. “We did everything in the first term from juggling and floor acrobatics to aerial work, dance, theatre and clowning.” While there Rice performed in the Cultural Olympiad during the 2012 Games doing an aerial show on the London Eye, bungee jumping off the Millennium Bridge and free diving in Trafalgar Square. “The scariest day of my life was when we climbed the London Eye at three in the morning to rehearse.” Does Rice, who exudes natural confidence, still get nervous? “Yes, I get quite bad fear. It’s part of the madness – terrified before I go on stage and then I love it when I am on. But if I lost those nerves, I would worry because that’s part of the energy. You need that frenetic

quality. You also have to look like a human coming on stage and then do something superhuman.” Rice’s goal when she began her circus career was a singing aerial act, which then progressed into singing while performing in a cyr wheel, a large metal ring in which the performer rolls and spins gyroscopically. It seems ludicrously difficult – more so as Rice chooses to sing as well. For five years she performed with Alula Cyr, an allfemale cyr troupe, and as a singer she is still one half of Lil & Ollie with guitarist Ollie Clark. Rice performed with a cyr wheel at 2019’s engagingly beautiful Giffords’ show Xanadu, set in the psychedelic 1970s. There is a buzz of activity around Giffords, from traditional sign writers working on the caravans to a dressmaker embellishing costumes, while Rice herself was about to do a series of stretching routines and work on a vaulting horse ahead of her session with a Percheron as this year she is performing on horseback. Giffords has a permanent team of around 10, increasing to between 60–80 during the season and the atmosphere, even now, is infectious and busy. Life in the circus appears markedly different from going on tour with a theatre production. “At the beginning of the season you think ‘I’m never going to remember everyone’s name’ and by the end you can recognise somebody in the dark by their footsteps. It’s unbelievable,” says Rice. “And as a community, we don’t just do a show – we arrive somewhere and build a village. There is a lot of physical labour: people who set up the water, the electrics and then we put up the tent and we all eat together.” The community feeling is hugely apparent. “If you are on stage, you are often putting your life in somebody’s hands. If you are doing a horse act, you have to know all the people around you are keeping you safe – those on the ramps, the ring boys, the people doing the rigging. You trust them. And you spend every waking minute with them!” The blend of nationalities is an important feature. “Part of the

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An unsuspecting volunteer gets sloshed at Giffords Circus

attraction is you can hear six or seven different languages being spoken and they bring their own cultures. So round the back of one caravan, someone is making goulash and behind another someone is cooking a Cuban stew. The multicultural thing is amazing and makes it circus.” That community spirit came to the fore during last year’s various lockdowns and the postponement of The Hooley. “Initially during lockdown many of the artists were stranded at Giffords unable to get a flight home so they isolated together, using up all the food in the freezers meant for the tour and continuing their training as they had no idea how long the lockdown would last. We managed to get the Cuban troupe home, but an Italian and Russian family locked down with us here at Fennells Farm. “When it was announced [in summer last year] that restaurants could open again, we created a socially distanced dinner show called The Feast with Tweedy the clown and the acts that were at the farm.” Giffords’ shows always have a carefully crafted theme. “What makes us different is the artistry in Nell’s ‘quintessential village green’ ethos,” says Rice. “Lots of circuses aren’t worried about there being a beautiful through line, but we create a storyline that carries through.” It may be why Giffords has been described as the “Glyndebourne of circuses”. As for The Hooley, which marks the 21st anniversary of the circus, Rice says it’s a “Celtic party, a good old knees-up and there will be faeries and maybe trolls.” She will be doing two horse acts this year, after only starting to rehearse in earnest two years ago. The circus will operate at 50 per cent capacity until official advice changes. The Hooley was devised by Nell Gifford and show director Cal McCrystal, a ‘comedy genius’, whose credits include working on the hit West End show One Man, Two Guvnors and Paddington 2. “Everything he does is exciting and uplifting,” says Rice. “The Hooley was conceived by Nell and Cal, I am just stepping in as producer.” Will there be a tribute to her in the show? “Yes

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something joyful.” As to future years, Rice says they will draw on Gifford’s ideas, after all, Nell’s philosophy was always “the show must go on.” The heyday of the circus may have passed but thanks to the likes of Cirque de Soleil and Giffords and the rise of physical theatre, this sometimes forgotten art is back, says Rice. What’s more she is passionate about encouraging this upswing. “A couple of years ago, I did an outreach thing with the School of Larks (a Gloucestershire based school of circus arts). I worked with them for six weeks, realising how such a physical environment can be the making of some people.” Rice points out that, “The circus was one of the first professions where a female performer was paid as much as a man. They had status; one of Napoleon’s mistresses was an acrobat. The women are doing the same job as the men. There are still strong men and sexy women – but backstage it’s unbelievable what the women do.” Rice’s goal is to help take Giffords forward another 20 years and to keep the family feel. “I love it; it’s a challenging life. Whenever I thought I couldn’t do something, Nell would tell me to get on with it, and that means I’m doing something I never had the selfconfidence to do. She pushed me.” Does she have any advice for wannabe circus stars? “Learn an instrument, learn a language and do some form of dance training because you can be useful in so many ways.” Nell Gifford is buried just across the valley in Slad in the same church as the celebrated author Laurie Lee, who once said of his work that he “wanted to communicate what I had seen, so others could see it”. In her own way, Gifford has done that too – conjuring up a vision of what a circus should be like and spreading that magic around. ■

• Giffords Circus season continues at various locations until September 26, finishing at Fennells Farm, near Stroud, Gloucestershire from 16–26 September 2021; giffordscircus.com

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ER M ES M SS SU LA C

Wanted

Let there be light…

SUMMER WORKSHOPS Tailored Lampshades – Thursday 10th & Friday 11th June Gathered Lampshades – Thursday 17th & Friday 18th June

We are low on stock Leave the cleaning to us

Pleated Lampshades – Thursday 24th & Friday 25th June Tricky Tailored Shapes – Thursday 1st & Friday 2nd July Lampshade Summer School – Tuesday 10th to Friday 13th August Four days of glorious creativity

A Passage to India – Friday 10th & Saturday 11th September Gathered lampshades using block printed fabric and saree trimmings

To book your place and for details, visit:

www.lampshadeschool.co.uk We are in Holt village, near Bradford on Avon

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ART | EXHIBITIONS

STATE OF THE ART

Gallery and Online Exhibition: Safari Paintings from Wild Animal Kingdom of Africa, 5 June – 17 July

Spring 2021, Rainmaker Gallery, until 18 June Rainmaker Gallery is celebrating 30 years of exhibiting contemporary Native American art. Throughout the year, the gallery will be showing artworks selected in accordance with seasonal colour palettes, including as many artists from the three decades as possible. The spring exhibition is filled with joyful spring greens, pinks, yellows. rainmakerart.co.uk Image: Wakeah by Cara Romero has recently been acquired by MoMA (The Museum of Modern Art, NY) and is also on show in Rainmaker Gallery’s spring 2021 exhibition.

East Lambrook Manor Gardens is hosting watercolour artist and traveller Moish Sokal for his 26th annual summer exhibition. Sokal realised a lifelong dream of visiting Africa and found it as exciting as he had expected. His safari trips covered the Kruger National Park (South Africa), Victoria Falls, (Zimbabwe), and Chobe Wildlife Park (Botswana). Africa’s wildlife has inspired Sokal to make a stunning series of paintings, which form the body of the exhibition. Sokal’s work was set to appear in an exhibition last year but the event was cancelled due to Covid. Now, Sokal has not only added more to this body of African-inspired work but has painted a series inspired by his lockdown walks from winter into spring around his lovely Somerset village. moishsokal.co.uk

Grey Areas: Jessie Edwards-Thomas, Arnolfini, throughout June Jessie Edwards-Thomas has co-designed and co-produced Grey Areas, a photographic dialogue with five individuals with complex needs who are currently within or have experienced the ‘homelessness pathway’ in Bristol. The work was created during the winter of 20/21, the year of the pandemic; when our basic needs for shelter and safety were highlighted across the nation. Our concerns were rooted in the question ‘what does home mean to our sense of wellbeing?’ What is continuing to happen to our city spaces which is pushing people further and further away, physically, mentally and socially? Grey Areas reflects the impact our physical spaces have upon our mental spaces. arnolfini.org.uk

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ART | EXHIBITIONS

Varekai (Wherever), RWA Pop-up Exhibition, at community venues across Bristol, from 18 June

Canaletto: Painting Venice, The Holburne Museum, 17 May – 5 September From 17 May, the Holburne Museum in Bath will present the most important set of paintings of Venice by Canaletto (1697 – 1768), which will leave their home at Woburn Abbey – one of world’s most important private art collections – for the first time in more than 70 years. This once in a lifetime exhibition will enable art lovers to enjoy and study up-close 23 beautiful paintings, in a fascinating exhibition that also explores Canaletto’s life and work, alongside themes of 18th-century Venice and the Grand Tour. This is one of the rare occasions that any of the successive Dukes of Bedford and Trustees of the Bedford Estates have lent the set of paintings since they arrived in Britain from Canaletto in the 1730s. Created over a nine-year period, when the artist was at the pinnacle of his career, the Woburn Abbey paintings are the largest set of paintings that Canaletto ever produced, and much the largest that has remained together.

The RWA is taking a selection of vibrant and colourful artworks from the permanent collection to community venues across Bristol, as a pop-up exhibition, during the time that the RWA building is closed for renovation. The title, Varekai, is a Romani word meaning ‘wherever’. It comes from one of the paintings in the exhibition, which depicts Le Cirque du Soleil performing a show of the same name. The exhibition comprises eight paintings that all have great energy, vibrancy and a distinct sense of the outdoors about them. They were chosen to inspire and delight, as we all come out of lockdown and reconnect with each other and the places around us. To accompany the exhibition, free family art workshops with an artist will run at each venue, using the paintings as inspiration. Booking for these workshops is via each individual venue. rwa.org.uk Image: June Berry RWA NEAC Hon. RE RWS, Le Cirque du Soleil Performing ‘Varekai’, 2011. RWA Collection © RWA (Royal West of England Academy)

holburne.org Image: View on the Grand Canal looking north from the Palazzo Contarini dagli Scrigni to the Palazzo Rezzonico

Four by Four, Clifton Contemporary Art, until 3 June The show at Clifton Contemporary Art brings together four artists whose work is defined, shaped and inspired by nature and its elements. Hannah Woodman's visceral, dynamic paintings use outline, texture, layers, confident mark making and pure accident to evoke the raw Atlantic coast and light dappled farmland close to her studio. Parastoo Ganjei's powerful, emotive acrylics capture the restless wash of sunlight and cloud over her local Wiltshire landscapes. The gently enigmatic abstracts of Masako Tobita are an intensely personal creative response to the wild places she explores and knows. Rosie Musgrave has been mesmerised by the beauty and quiet presence of stone since she was a child, but has more recently explored the charismatic forms and exquisite colours revealed by bronze casting. Four by Four is an exploration of difference: of how artists find the utterly unique and diverse in shared environments and common themes. cliftoncontemporaryart.co.uk Image: Navy Skies, Cornwall by Hannah Woodman

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COLUMN | CHRIS YEO ON ANTIQUES

Expert opinion From Chris Yeo, expert on BBC Antiques Roadshow, valuer at Clevedon Salerooms and curator of the Ken Stradling Collection in Bristol

When Bauhaus arrived in Bristol

f you thought North Somerset was the last place to find worldclass design, then my aim, this month, is to convince you otherwise. Eighty-five years ago, an agricultural show on the Ashton Court estate was the unlikely setting for a groundbreaking experiment in modern living. Amongst the ploughing competitions and prize-winning bulls at the Royal Agricultural Show was a startling vision of the future – more California 1966 than Somerset 1936: a flat roofed single-storey building with wide expanses of floor to ceiling windows. Inside, the walls were part exposed stone and part unpainted plywood and the floor tiled with plywood squares. Its open-plan interior was designed to showcase a collection of ultra-modern furniture (which show-goers could order for their home) and to promote a new style of living – Modernism. Despite its small size the pavilion is now considered a landmark of 20th century architecture. The story behind its creation involves one of the brightest stars of the Bauhaus – history’s most famous art school – and a visionary Bristol businessman. Crofton Gane was a man of high ideals and tenacious ambition. A committed Quaker, he had spent the First World War in service as an ambulance driver before returning to his home city to resume work at the family business. P.E. Gane & Co. had been at the heart of Bristol’s retail scene for over a century, making good quality, if rather pedestrian, furniture in a range of antique reproduction styles.

Crofton had other plans. He had a keen interest in design and closely followed developments abroad – particularly in Europe where Modernism, the radical new style for the future – was the order of the day. With the death of his father in 1933, Crofton took leadership of the business and began transforming its grand College Green showroom into a beacon for the new look. It was a brave move, 1930s Britons – and Bristolians in particular - were conservative in their tastes, but Crofton had help. The man he turned to was one of the design world’s brightest stars. Marcel Breuer had been the A-grade pupil at the Bauhaus, the revolutionary German art and design school founded in 1919. Although open for just 14 years, the school’s teachings paved the way for the world we know today, embracing modern materials and an unapologetic ‘machine’ aesthetic. Breuer would go on to teach at the school but, following its closure under the Nazis, in 1935 he arrived in the UK. It wasn’t long before Crofton came calling with an offer of work and shortly after Breuer became consultant designer at P.E. Gane & Co. This was a major coup: Marcel Breuer was the most famous designer in Europe. His first project was Crofton’s home – an unremarkable suburban house near the Downs. Breuer left the exterior untouched – but inside he brought the full force of the Bauhaus to Bristol. The hall was fitted with England’s first open-tread metal cantilevered staircase, the living room was panelled in plywood, whilst the dining room boasted a feature wall of corrugated asbestos (yikes). To complement the scheme Breuer designed a complete range of furniture, made by Gane craftsmen at its two Bristol factories. The Gane Pavilion at Ashton Court was his second and final commission. The building was intended to advertise Gane’s furniture but was clearly too challenging for show-goers and not a single order was placed. Only ever intended as a temporary structure, the building stood for just a matter of weeks until the demolition team moved in and Breuer’s revolutionary pavilion became a distant memory. In 1937 Breuer left England for a new life in the USA, where he achieved worldwide fame. With Crofton at the helm, P.E. Gane & Co seemed destined for continued success but World War II intervened and the company showroom, together with its factories, were destroyed in the Bristol air raids of 1940 and 1941. Unable to recapture its 1930s dynamism, the company closed in 1954. Breuer never forgot Bristol. He and Gane remained close friends until Crofton’s death in 1967. Late in life, reflecting on his achievements, the great architect claimed that, for him, there were only two really important buildings in his career, the UNESCO headquarters in Paris, and the tiny Gane pavilion. ■ • For more information about Marcel Breuer, Crofton Gane and the Bauhaus in Bristol visit www.stradlingcollection.org/bristol-bauhaus

The Gane Pavilion, Royal Agricultural Show, 1936. Image courtesy of The Ken Stradling Collection

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clevedon-salerooms.com; @chrisyeo_antiques (Instagram)

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CLAVA DINE UMAGE, DENMARK

LIGHTING SPECIALIST 8 BATH STREET, FROME. TEL: 01373473555 WWW.FIATLUX.CO.UK

Specialist Sale Preview Marcel Breuer (1902–1981) for P.E. Gane, Bristol, two important prototype armchairs 1935, from the home of Cro"on Gane, to be oﬀered as consecu$ve lots £2,000£3,000 each

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ENTERTAINMENT

Fearless creativity A new production company has launched in Bristol. At the heart of it are the writers who have arguably changed the face of TV with their multitude of cult classics. Millie Bruce-Watt chats to Matthew Graham and Emma Frost about their latest venture, which is brimming with epic escapism

he television and film industry is a major part of Bristol’s economy and its creative force is tightly woven into the fabric of the city. The BBC’s Bristol headquarters consistently produces internationally renowned, highquality British programmes and its iconic Natural History Unit sits at the centre of ‘Green Hollywood’, the world’s largest concentration of firms producing wildlife content. Channel 4 has recently opened its Creative Hub in the city, The Bottle Yard Studios continues to attract big name talent and, of course, Aardman has been inspiring animators around the world for nearly 45 years. Now, as the industry roars back into action, we are proud to welcome television royalty to Bristol. From the writers and showrunners who brought us The White Queen, Life on Mars, Ashes to Ashes, Doctor Who, Shameless and The Man in the High Castle comes a brand new drama production company with a slate of powerful new projects. Matthew Graham and Emma Frost have teamed up with the US’s Legendary Entertainment to launch their own company, Watford and Essex. Legendary – a film production and mass media company – are responsible for TV and blockbuster hits, such as Jurassic World, BlacKkKlansman, Mamma Mia: Here We Go Again and Interstellar, to name but a few. This partnership simply means one thing: a plethora of transportive storytelling will soon be pouring out of the city gates. Having spent the last three years living and working in Los Angeles, Matthew and Emma are returning to the UK poised and ready to unleash their masterful creations onto international audiences. We speak to the writers to find out what they have in store for us and why Bristol is the best place for their next chapter. “We have big, exciting projects coming,” says Matthew. “One of the things that has been great about teaming up with Legendary is we have access to some of the IP that they own. They have Legendary Comics, for example – one of their comics is called Championess, it’s a really cool show about female bare-knuckle boxing in the 1700s and it has this really strong female protagonist so we’re really excited about that. “We have fantasy shows that we’re developing from their television side, old shows that we’re bringing back with a massive new modern

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twist, like Land of the Giants and Voyage to the Bottom of the Sea, but we’re also focusing a lot on the terrestrial market, shows that we know could work really well for ITV and the BBC and Sky. They could range from thrillers to family dramas to medical dramas so we’re really right across the board with all sorts of things. We’re very fortunate that we have Legendary behind us.” The South West has not only been home to Matthew for most of his adult life but the city has been highly rated by the writers for its ability to morph into the ideal backdrop for varying genres. “One of things that we love about basing productions out of Bristol is that we have a huge diversity of locations. We can film period drama incredibly well in the West Country but we can also film series like Skins, really relevant modern shows. We have access to fantastic crews. I love filming in the West Country and always have done and it’s partly because of where it’s based – it’s a brilliant place to be set up, to be creative and it’s a great city to film in and to film around,” says Matthew. “Having lived in LA for three years, we still prefer Bristol,” they joke. As companies continue to pick up productions in a very different world to the one in which they left off, it will be interesting to see how the industry will reflect this moment on the big screen. Matthew and Emma both believe that what television needs at the moment is not to hold a mirror to society but to offer post-pandemic audiences an opportunity to be whisked away from reality. “We want to move on and tell fresh stories – I’m not entirely sure the world wants to relive the pandemic over and over again in television drama,” says Matthew. “If you look back at the Spanish flu in the 1920s, the world said, ‘Let’s have Charlie Chaplin, Laurel and Hardy, Douglas Fairbanks Jr.’ I think, if anything, what television needs now is to offer people joy and excitement and fun – that doesn’t mean not telling serious stories but it just means I think there will be a huge resurgence in magical realism and romance.” “I know Covid has been a big part of everyone’s lives but let’s leave the mundane and have some fun and escapism,” adds Emma. As writers, Matthew and Emma have never shied away from bold, genre-bending storylines and have always pushed the envelope in terms of fearless creativity. Their new venture is set to be no different. “Matthew has been breaking every rule before it became the norm,” says Emma. “The most notable story was Life on Mars – early on in Life on Mars’s journey, Matthew was told that not only was the network not going to make it but that he shouldn’t make it. No one should make it because this was the kind of show that ruins careers. Happily, the BBC saw past that and said, ‘No, this is brilliant – we’re going to make it’ and, as we know, it was a game-changer. It totally changed the face of television and it’s one of the biggest cult shows of the last two decades. For Matthew, he’s always been about being bold and taking risks and, for both of us as well, when you’ve lived in America and when you’ve been a part of the international world of television and been influenced by that, it makes you realise that there are no boundaries. Incredible television is made in the UK but I think it is still only just aligning itself with the international marketplace and I think, for us, this is exactly the right moment to be back here because we are bringing everything we’ve learned from our travels and we are bold and brave and we don’t want to make anything that feels safe.” One of the duo’s most recent hits was The Spanish Princess, which wrapped on the final day that filming was permitted before restrictions came into force in March 2020. The post-production was subsequently

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ENTERTAINMENT

Relevant modern shows can be filmed in Bristol and we have access to fantastic crews. I love filming in the West Country and always have done

completed during the first lockdown and premiered in October. Despite the obstacles, however, the show was an incredible success. Most notably, it gave an accurate account of history and reinstated women and people of colour to their rightful place in the story. “We’re trying in a tiny way to redress the balance and show something that is actually accurate,” adds Emma. “Two thirds of our shows have female protagonists and we’re working with a high number of writers from different backgrounds – that’s partly why we’re so excited about sharing these voices and stories that we haven’t heard before.” With so many new projects on the horizon, there is no doubt that Matthew and Emma will continue to enrich our lives with their sheer brilliance. As the country continues to open up, allowing for more locations to be used for filming, we look forward to seeing the city brimming with life once again. In the meantime, however, for Emma and Matthew – and undoubtedly the other 400,000-odd or so Bristol residents, only one thing is on their minds – an icy cold pint at the pub. “There are some fine pubs in Bristol and we plan to visit every single one,” they joke. “A big shout-out to The Portcullis.” • Keep up to date with Watford & Essex on Twitter: @EssexWatford Top: Matthew and Emma aimed to reinstate women and people of colour to their rightful place in the story (image: The Bottle Yard Studios) Right: Charlotte Hope and Ruairi O’Connor starred as Catherine of Aragon and Henry VIII in The Spanish Princess. The Bottle Yard Studios THEBRISTOLMAG.CO.UK

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THE BRISTOL MAGAZINE 39

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EVENTS AND CELEBRATIONS

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EVENTS AND CELEBRATIONS

Celebrate! – Setting the scene Berwick Lodge recently staged a photo shoot in support of local businesses to showcase just some of the talent and creativity that is available locally for those wanting to celebrate in style as restrictions are lifted. The brief for the shoot was based around an Amalfi Coast theme, reflecting the blue sky and lemon groves of summer in Italy. Alessia at Lusso Events gives us her celebration tips .

ith weddings, events and celebrations looking a lot different, whether it's allowed to happen on a smaller scale or as you'd wished for at a later date, we’re here to offer our advice to help you prepare and plan to still celebrate and cherish life’s special moments. Our golden tip all around is to keep an eye on your end goal, be prepared and follow guidance closely, whilst maintaining open and honest conversations with your vendors and guests.

One - Plan Ahead

The Mews at Berwick Lodge is a bright space with fantastic rural views that has its own patio overlooking open fields and woodland. Twinkling chandeliers and flickering lanterns help create a special atmosphere for celebrations. The Mews is available to hire privately for any kind of party, meal or get together. It has its own bar, toilet facilities and space for dancing. For further details see: berwicklodge.co.uk Berwick Lodge, Berwick Drive, Bristol BS10 7TD

Whilst your wedding or special celebration might be one to two years away, with the impact of COVID-19 it’s never too early to start planning and engaging in discussions with suppliers and venues! In fact you’ll find most suppliers will most likely already be booked with postponed weddings and events for 2022 plus, so be sure to plan ahead and don’t delay. When engaging in discussions with vendors and venues, keep an open mind with the event your planning. If sadly you’ve had to postpone several times, think of the extra time you now have to capture all those delicate details and styling touches. Remember postponing an event is emotionally easier on the ear than cancelling.

Two - Create a Moodboard Use the time to get creative and create a mood board to bring together all your ideas, style, themes and vision. Your special celebration might be delayed but will happen so keep planning ahead with a vision of your dream set up and styling. Pinterest is your best friend.

Three - Hire A Stylist Although it may seem a more cost effective way to plan your own event, it often ends up being the opposite. Event stylists have relationships with vendors so they can negotiate on your behalf, share industry experience and knowledge, as well as being on hand to help guide you through all decisions. If you have a budget in mind, be open and honest with your stylist so they can be sure to stick to your budget and work closely to create your desired look within budget.

Four - Be Flexible Flexibility is key. Vendors and venues will be working hard to reschedule 2020 and 2021 weddings and events, as well as those in the future, so flexibility is key to give yourself as many options to consider as possible. - Consider venues with alfresco dining as well as indoor spaces! Give yourself creative options to work with. - Consider less ‘desirable’ dates; not every event has to be a Saturday or Sunday and you’ll find mid week events will cost less than those on weekends. And those extra special touches you compromised on before could now make it into your budget. - Be open minded with venues and suggest a season to work with as opposed to a specific date and month.

Five - Guest Count

Intimate is the new extravagant. With guidance and regulations changing, think of a smaller intimate gathering as the new extravagant and an opportunity to celebrate in style with a larger gathering when you’re able to do so! ■

With special thanks to local suppliers: Lusso Events - Event Planner, Design Concept & Stylist (Decor, Props, Table Stationery & Favours) lussoevents.co.uk Instagram: @lussoevents_styling ELT - (Balloons, Gold Hoop Backdrop with 'Let’s Party' Neon Sign) Instagram & Facebook: @eltparty Three Little Figs - Graze Platter threelittlefigs.co.uk Instagram: @threelittlefigsuk Hip Hip Events - Peacock Chair hiphipevents.co.uk Instagram: @hiphip_events ZolaRose - Cake zolarosecakes.co.uk Instagram: @zolarosecakes Isabloom Floral Design - Flowers isabloomfloraldesign.co.uk Instagram: @isabloomfloraldesign Kauro Home - Napkins kauro.co.uk Instagram: @kaurohome Bristol Blue Glass - Blue Glass Vase Centrepiece bristol-glass.co.uk Instgram/Facebook: Bristol Blue Glass Prestige Hire - Charger Plates, Cutlery & Wine Glasses prestigehire.biz Instagram/Facebook: Prestige Hire All images by MorLove Photography morlove.co.uk Instagram: Morlove _ltd

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DINING IS BACK AT HARVEY NICHOLS BRISTOL From local and seasonal menus, full of exciting new dishes, to decadent cocktails and an extensive wine list, The Second Floor Restaurant and Bar has re-opened.

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With Head Chef Lucy Lourenco at the helm, a safe environment and adhering to guidelines remain a priority, whilst new menus and dishes have been created to ensure a memorable experience and a welcome return to indoor dining. The new bar menu sees the addition of Grazing Plates, perfect for a lighter lunch or ordering a selection to share. Choose from salads including Beetroot, Rhubarb and Goats Cheese, or Rice Noodles, Spring Onion and Rocket or dishes including Smoked Salmon, Shallots and Soda Bread or Venison Scotch Egg with wild garlic mayonnaise. Harvey Nichols classics including a Bavette Steak Sandwich and South Coast Fish and Chips feature on the menu, along with a range of brunch dishes now available until 2pm. Both the Market Menu, which includes two delicious courses for £25 and an array of mouth-watering A La Carte options are available in the restaurant, along with brunch and the muchloved Afternoon Tea. To finish off, desserts include a Raspberry soufflé, Chocolate torte, passion fruit curd and a Strawberry Tart with Strawberry Sorbet.

To book: harveynichols.com/restaurant/bristol-dining/restaurant Or call: 0117 916 8898 THE SECOND FLOOR RESTAURANT HARVEY NICHOLS CABOT CIRCUS, BRISTOL Sunday: 12pm – 5pm Monday and Tuesday: closed Wednesday: 12pm – 5pm Thursday to Saturday: 12pm – 10pm

Instagram @hnbristol_secondfloor

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THE BRISTOL MAGAZINE 43

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FOOD & DRINK | TAKE 3 NEW ARRIVALS ON BRISTOL’S RE-EMERGING HOSPITALITY SCENE

TAKE-HOME TAPROOM

Bristol Beer Box offers a selection of locally-brewed beer

Bristol Beer Box – a new beer delivery business – is championing Bristol's vibrant craft beer scene. When its founder, Isabel, moved to Bristol she was thrilled to discover the number of craft breweries in the city and the high standards of quality and creativity that they all maintain. The only problem was that there was nowhere that you could buy beer from all of the breweries. Her new venture seeks to change that. Bristol Beer Box offers a selection of locally-brewed beer, bringing the variety of the taproom home to you. There is a choice of the pale box, which features a selection of light beers, lagers and ales ranging from pale to amber, and the mixed box that includes 2-3 stouts and porters. Try a box for yourself, send one as a gift to the beer-lover in your life, or sign up for a subscription to enjoy the convenience of a new selection arriving at your door every month. Use offer code HELLOBRISTOL for 10% off your first box. • bristolbeerbox.com

A HIDDEN GEM Focusing on food pop-ups, supper clubs and private events, with a carefully curated drinks menu sourced from local suppliers featuring natural wine and craft beers, The Scrandit is a new multi-functional venue located on The Christmas Steps. It’s home to resident pop-up Chori Bandits, which is run by coowners Josh Dickinson and Max Laird-Hopkins. The aim is to create a space for opportunity, especially for those who are just starting out. The venue has a front bar, upstairs seating area/private hire space, fully equipped kitchen and a suntrap terrace at the rear, with cover if needed. Many thanks to one of our readers Nat Chadwick for finding this hidden gem! • Follow The Scrandit and the Chori Bandits on Instagram: @thescrandit and @choribandits

The Scrandit’s suntrap beer garden. Photo: Paul Perkins; find him on Instagram @theproperperkins

FINEST COFFEE AROUND Dareshack is a creative studio fuelled by speciality coffee and food. Like many others, Dareshack had to adapt. When it was just about to start implementing its concept combining hospitality and live entertainment, the pandemic hit. Nevertheless, it has worked tirelessly to launch part of the hospitality arm that is now becoming a go-to place for speciality coffee and treats. All sweets are made in-house, including its popular artisan doughnuts. Its exclusive coffee blend 'Triple Dare' has been developed with Triple Co. and is served alongside rotating single-origin guest coffees. The exquisite interior is also complemented by pieces from local artists. You can't miss Dareshack on Wine Street as you will surely be caught by their tasty window display! Like us, Dareshack is fuelled by coffee and delicious food!

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• dareshack.com; Instagram: @dareshack

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NATURE | THE ART OF BONSAI

Dan Barton Crab apple in flower planted in Dan’s Fai-Yaki pot

Quince variety, crimson and gold created from a garden centre stock plant

Simple Box (Buxus) seedlings collected from Dan’s garden hedge

A tiny porcelain pot hand-painted by Dan – inspired by an old Japanese print

Tiny painted pot depicting a Scots pine landscape

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NATURE | THE ART OF BONSAI

Finding the balance As many of us continue to turn to nature as a source of solace, Millie Bruce-Watt asks two of the city’s bonsai specialists – including the former expert of the RHS Chelsea Flower Show – for all we need to know about caring for these extraordinary minature trees

he art of bonsai has been captivating admirers for over a thousand years. Combining horticultural techniques and Asian aesthetics, the level of meticulous skill, patience and care required to achieve the desired styles has made it one of the world’s most sophisticated art forms. Nowadays, not only are bonsai trees part of a lucrative industry, they are also greatly treasured by hobbyists due to their striking beauty and the enriching experience of caring for them. Over the past year, as we tackled pandemic fatigue and turned to nature as a source of solace, many have cultivated mindfulness through bonsai care. The trees’ astonishing simplicity is symbolic of harmony and peace. In a world of instant gratification, the art of bonsai demands our patience – we watch on as these wizened trees make minute advancements, eventually over time creating the image and shape we have in mind for them. As interest continues to grow, we speak to the city’s bonsai connoisseurs to learn more about the ancient art form and discover the best advice for aspiring artists. Meet Dan Barton, former bonsai expert at the RHS Chelsea Flower Show and founder of the Bristol Bonsai Society, and Jon Short, owner of Bristol Bonsai, two of several very talented bonsai artists in the city.

The trees’ astonishing simplicity is symbolic of harmony and peace. In a world of instant gratification, the art of bonsai demands our patience

Born in Hong Kong in 1938, Dan has spent the past 52 years learning, practising and teaching the art and philosophy of bonsai. He first acquired an interest in the art in 1969 and taught himself how to master the tradition’s varying styles. He is a qualified art teacher and spent many years working as senior lecturer at the University of the West of England before becoming head of the photography department. Dan eventually took early retirement and set up an educational service in bonsai, involving workshops, masterclasses, lectures and residential courses, which he ran for many years. When creating his miniature trees, he has been able to draw on his background in all the various aspects of the visual arts. Dan has been at the forefront of the global bonsai movement. For over 25 years he served as a bonsai judge at the Chelsea Flower Show and numerous other Royal Horticultural Society shows around the country. He received three awards, including the major award in 1989, for photographs of bonsai trees exhibited at the International Bonsai and Suiseki Exhibition in Osaka, Japan. Following his success, Dan was added to the British Bonsai Roll of Honour (by FoBBS) for contributions to the furtherance of bonsai in the UK and was honoured in 2006 with the Association of British Bonsai Artists’ ‘Most Prestigious Award’ for his contribution to British bonsai. “I first saw bonsai as a child in the markets in Hong Kong and I was fascinated by them but never thought for a moment I’d be able to do it,” he tells me. “Years later, I was eventually persuaded by a student friend of mine at UWE, who kept pressing me to make a start in bonsai. Finally, he bought me a couple of trees and, basically, I just picked it up – from growing twigs in a pot to growing more sophisticated stuff. It’s been very interesting and I’ve been all over the world as a result.” Dan founded the Bristol Bonsai Society in 1975, having left a note on

a trader’s stall at the Downs flower show. “There was a lot of interest,” he says. “At that initial meeting, 18 people attended and it just grew from there. Bristol has always enjoyed a very good reputation in this country as being one of the leading societies.” Since its first meeting, the society has accumulated hundreds of members over the years, with a group still meeting regularly to this day (Covid-permitting). More recently, Dan – an unceasing creative force – has turned his attention to making handcrafted stoneware with his wife, Cecilia. Marrying the pot to the tree, like a frame to a picture, Dan ensures the colour of the glaze complements the bonsai’s ever-changing seasonal hues. “The availability of bonsai pots in the country is very minimal,” he says. “There are very few people importing from Japan so I was using anything from the tops of jam jar lids to yoghurt pots and ovenware – anything I could get my hands on. I thought, well, why not try making my own? That’s how I started. I joined the adult art department at the RWA down in the basement using the facilities there and it’s grown and now I’ve probably made several thousand pots – and every single pot is different. “It’s great fun working with clay. The pots are mostly these days commissioned for bespoke pots. Someone says they have a particular tree and they say, can you make me a pot for this tree? That is always challenging but very, very interesting.” Bonsai is a Japanese art form that grew out of the Chinese art of Penjing over a thousand years ago. As the world opened up, the tradition became increasingly accessible to Western and world audiences. Although different techniques have evolved over the course of bonsai art history, the respect and admiration for nature remains at its core. More than a thousand years after the art was first developed, the bonsai artist still seeks to emulate the inherent shape of the tree as it battles nature’s elements. For those looking to get into the hobby, Dan’s advice for beginners is simple. “Join your local society. You’ll find that bonsai people are very friendly and very helpful. This hobby requires patience, you can’t rush bonsai. I’ve been working on trees for 40 years that still haven’t realised the mental image I have for them.” Bristol Bonsai owner Jon Short learned his skills from his uncle and at the Bristol Bonsai Society before setting up his own business four years ago. Today, he runs a small, family-run enterprise, buying and selling trees, pots and all things bonsai for beginners and experienced enthusiasts. He also holds one-to-one classes either at their studio or in the comfort of your own home. Similar to Dan, Jon’s advice is never to stop learning. “Every day is a school day. We just want to get people into the hobby and so we have very easy trees – a Chinese elm is one of the easiest you can start with.” There are 24 individual styles of bonsai – windswept, cascade and double trunk, to name but a few. However, Dan stresses that the most important thing is to love what you’re doing. “Have fun – create your own style – you might try hard to create a windswept image or a forest style and it can be frustrating at times because it takes an awful long time. Just enjoy the journey.” • Dan’s first book on bonsai, The Bonsai Book, was published in 1989 by Ebury Press and has since been re-printed several times. It covers 20 years of research into the practice and philosophy of the art form and provides step-by-step instructions on growing your own bonsai tree. Visit Dan’s website: danbartonbonsaipots.wordpress.com and follow him on Instagram: @danbarton_bonsai Visit Bristol Bonsai’s website: bristolbonsai.co.uk and follow them on Facebook @bristolbonsai and Instagram @bristol_bonsai THEBRISTOLMAG.CO.UK

JUNE 2021

THE BRISTOL MAGAZINE 47

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William Friese-Greene: Analysis of Motion Experiment. Science Museum Group © The Board of Trustees of the Science Museum, London

HISTORY | CINEMATOGRAPHY

The father of cinema

Only in recent years has Bristol-born cinematographer, William Friese-Greene, been recognised for his outstanding contributions to motion picture. Andrew Swift looks back at a legacy shrouded in controversy Only in recent years has Bristol-born cinematographer, William Friese-Greene, been recognised for his outstanding contributions to motion picture. Andrew Swift looks back at a legacy shrouded in controversy

lthough the name of William Friese-Greene is a familiar one, many people might struggle if asked to list his achievements. This isn’t too surprising, even though in Bristol, where he was born, there are no less than three plaques to his memory. One hails him as ‘the pioneer of cinematography’, another calls him ‘the inventor of commercial cinematography’, while a third credits him with being ‘the inventor of the moving picture camera’. All of which suggests he was a very significant figure indeed. Unfortunately, it isn’t quite as straightforward as that. His life was a roller coaster – from rags to riches, and then, following a devastating bankruptcy, back to rags again. His posthumous reputation had an even stranger trajectory. Hailed after his death as a pioneering genius who virtually invented motion pictures, his life story 48 THE BRISTOL MAGAZINE

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featured in a star-studded film to mark the Festival of Britain in 1951. Four years later, however, plans to celebrate the centenary of his birth were scuppered by revelations that he was little more than a fraud who pinched other people’s ideas. Only now, a century after his death, is it becoming clear that both the adulation and the condemnation were wide of the mark, with a more balanced view of his achievements finally emerging. He was born William Edward Green, the son of a metalworker, in Bristol in 1855. He won a scholarship to Queen Elizabeth’s Hospital, and, when he left at the age of 14, the school apprenticed him to a photographer called Marcus Guttenberg. Five years later, he married a German girl called Helena Friese and moved to Bath, where he worked for Mrs HR Williams, a ‘photographic artiste’ in Fountain Buildings. He soon opened his own studio in the Corridor, Bath’s fashionable

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CINEMATOGRAPHY | HISTORY

He displayed a flair for publicity, included jocular poems in his advertisements, and experimented with the latest technology, claiming to be one of the first photographers to use electric light successfully

shopping arcade, and, adopting his wife’s surname, rebranded himself William Friese-Greene. He displayed a flair for publicity, included jocular poems in his advertisements, and experimented with the latest technology, claiming to be one of the first photographers to use electric light successfully. He was also an astute businessman and within a couple of years had opened studios in Plymouth and on Queen’s Road in Bristol, as well as a second studio in Bath. It was, however, a friendship he struck up with a scientific instrument maker called John Arthur Roebuck Rudge, who had a workshop near the Corridor, that would change everything. Rudge conducted elaborate electrical experiments at large public gatherings, and was known as ‘the Wizard of the Magic Lantern’. Magic lantern shows were ten a penny in Victorian England, but Rudge’s were something special, and by the time Friese-Greene met him he had already astonished audiences by projecting pictures that appeared to move. The potential of the Biophantic Lantern that Rudge invented to create the illusion of movement was clear – if a camera could take a rapid sequence of photographs which were then projected at the same speed by such a lantern then moving pictures would be born. Brilliant though the idea was, the technology was not up to it, with photographers still having to rely on glass plates to capture images. While Friese-Greene wrestled with this problem, his fame and his empire grew. He opened more studios, and in 1885 moved to London, establishing himself on New Bond Street and counting members of the royal family among his clients. In 1889, he devised a camera that did away with glass plates, and could capture a sequence of four or five pictures a second on a roll of sensitised paper. Although the results were less than impressive, he continued to refine the process, designing two more prototype cameras, and was on the brink of success when disaster struck. Although his businesses were thriving, he had poured the profits – and more – into the enterprise he was convinced would bring him fame and fortune. But his creditors were hovering. Early in 1891 they descended, and on 7 February, just three months after he had opened his latest studio, his entire effects – including the rights to his patents – were auctioned off to pay his debts. He moved to a small house on the Kings Road, where he opened a photographic studio – in his wife’s name – on the ground floor, and set about trying to rescue something from the ruins of his life’s work. He had managed to save his cameras from the bailiffs and a few months later shot his first successful sequence of photographs from outside his new house. But it was too late. He didn’t have the money or resources to develop his invention, and many others

were busy trying to create the first motion pictures. The moment had passed, and although he remained an eternal optimist, working on many projects in the years to come – including colour films, which his son went on to have success with in the 1920s – he faded into obscurity. Thirty years later, however, on 5 May 1921, he turned up to a meeting, chaired by Lord Beaverbrook, called by members of the film and cinema trade to address the parlous state of the British film industry. His dismay at the proceedings prompted him to stand up and deliver an impassioned plea for unity, shortly after which he collapsed and died. It was the sort of dramatic ending you couldn’t invent, and the film industry duly responded by arranging a lavish funeral and declaring a two-minute silence in cinemas across the land. In the years that followed, this half forgotten figure was not only rehabilitated but, largely thanks to the efforts of his friend Will Day, elevated to new heights. He came to be regarded as the father of British film, and in 1947 his legend was enshrined in an unreliable biography, which four years later became the basis for a biopic called The Magic Box. Directed by John Boulting and starring Robert Donat, the film did Friese-Greene proud. Among those inspired by it was Martin Scorsese, who claimed that it had “created the biggest impression on me about film and about film making [and] prompted me to say, maybe you could do this yourself”. Much of what was now being claimed for Friese-Greene bore little relation to the facts, however, and a nemesis soon emerged in the person of Brian Coe, curator of the Kodak Museum, who set out to prove that Friese-Greene was little more than a fake. So successfully did he muddy the waters that, when the centenary of Friese-Greene’s birth arrived four years later, many of those who had been happy to sing his praises in 1951 maintained a discreet silence. Since then, confusion has reigned, with most film historians paying him scant attention, wary of becoming mired in controversy – until, that is, a film director called Peter Domankiewicz chanced upon Bristol’s plaques to Friese-Greene. He soon became intrigued and, despite warnings of the dangers attendant on delving too deeply into such a divisive character, decided it was time to set the record straight. Years of painstaking research followed, and, although the project is still ongoing, Peter has no doubt that Friese-Greene will soon be reinstated as one of the pioneers of motion pictures. The cameras he designed before his bankruptcy prefigured those produced by those such as Edison and the Lumiere Brothers, while his solution to some of the problems of capturing and projecting live action were of immense significance in the development of cinema. Now, as part of Bristol Film 2021, a year-long celebration of the city’s long association with the moving image, events are being held to reassess Friese-Greene’s legacy and – one hundred years after his death – restore him to his rightful place as one of Bristol’s most dynamic and influential sons. • Find out more about Bristol Film 2021 at bristolideas.co.uk. An online discussion about Friese-Greene between Peter Domankiewicz and Festival of Ideas director Andrew Kelly can be found at bristolideas.co.uk/watch/peter-domankiewicz. Image: The birthplace of William Friese-Greene. Friese-Greene was born at No.12, College Street (on the right) in 1855, when it was numbered 69. This photo was taken around a hundred years later, just before the street was demolished to make way for Bristol Council House. ©Bristol Museums, Galleries and Archives THEBRISTOLMAG.CO.UK

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BRISTOL UPDATES

NEWS FROM LOCAL BUSINESSES AND COMMUNITY ORGANISATIONS

MEET, MAKE, MEND Voluntary Arts has awarded £2,000 to Bristol Textile Quarter in partnership with the mental health charity, Changes Bristol Peer Support. Together, they are running a series of Meet Make Mend, Slow Stitch workshops, which will give participants living with mental health challenges the chance to connect, learn and share skills regardless of ability. Bristol Textile Quarter’s Saffron Darby said: “Sewing lets people take a breath and slow down, keep their hands busy and block out negative thoughts when things get too much. Particularly in the darkest times of lockdown, stitching can be so restorative, as you’re getting the chance to progress with something even when the rest of the world is so beyond your control. Speaking about the workshops, Saffron added: “Crucially I want [participants] to have the chance to connect with one another through creativity. There has been so little human connection over the last year so to be able to stitch together is a great way to come together. Ultimately if the classes can teach participants a new skill, and make them feel a tiny fraction better, it'll be amazing.” • bristoltextilequarter.co.uk

TREASURE YOUR RIVER A major new campaign, Treasure Your River, has launched to help reduce the huge amount of litter entering the River Avon and subsequently the ocean. Sustainable Hive and environmental charity Hubbub are calling for businesses, community groups, residents and other organisations situated along the River Avon to get involved. The campaign will run over the remainder of the year and the programme of activities for this summer, unveiled today, includes a silent disco litter pick, art installation, robot litter-clearing pirate boats and plastic fishing trips. Treasure Your River aims to be the UK’s largest ever collaborative effort to prevent and reduce the amount of litter in our waterways, tackling seven of the UK’s largest river systems: the Avon, Forth, Mersey, Severn, Taff, Thames and Trent and their tributaries. • treasureyourriver.co.uk

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SHINING BRIGHT Barton Hill-based theatre company and children’s charity, Travelling Light, is one of ten organisations nationally that has been awarded funding in the latest round of Paul Hamlyn Foundation’s Teacher Development Fund. Awarded £108,500 over 24 months, Travelling Light will work with five Bristol schools, supporting teachers to explore how drama-based learning can develop language, speech and emotional literacy, support wellbeing and address inequality of opportunity which affects educational outcomes. The project, Light Up School Learning: An Arts-Based Inquiry, will run from September 2021 – July 2023. Travelling Light will work with teachers and artists to expand teachers practice and to embed drama into the wider curriculum. The approaches developed will support pupils’ confidence, learning and their ability to express feelings and aspirations. Travelling Light will work with its partner schools, Brunel Field Primary, Victoria Park Primary, Redfield Educate Together, Merchants Academy and Hannah More Primary. Lizzy Stephens, creative learning officer and project lead at Travelling Light, said: “We are absolutely delighted to have been awarded this funding to work more deeply with our partner schools in Bristol. We are looking forward to being able to explore and measure the impact of drama-based activity, experiment with new blended approaches and broaden the opportunity for knowledge exchange and learning amongst teachers and artists. It is an exciting opportunity to really embed drama into teaching practice and build a strong school culture for the arts.” • travellinglighttheatre.org.uk

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LITERATURE | FESTIVAL

Rising voices As the city prepares to welcome the first ever Working Class Writers Festival this October, we get to know festival founder and artistic director, Natasha Carthew, who is looking forward to celebrating underrepresented writers of all styles and disciplines

his year, Bristol will see its first ever Working Class Writers Festival grace the city streets. The event, which is set to run from 21 – 24 October 2021 as part of the annual Festival of Ideas, aims to give exposure to working class writers and provide inspiration for young people from similar backgrounds. It will showcase authentic stories reflective of and relatable to the experiences of working class communities and be physically and financially available to audience members experiencing different financial pressures. The festival will welcome poets, journalists and academics to the physical and digital stage, including Stella Duffy, Tracy King and Mahsuda Snaith. The special guests will also join panel discussions, speaker events and workshops. To find out more, we spoke to festival founder and artistic director, Natasha Carthew, who initially suggested the idea in 2008, using social media to gauge interest in the event – the response was a resounding yes. Almost 13 years later, Natasha’s idea has finally come to fruition... What’s a typical day for you? Daily I write in a three-sided cabin I built out of scrap in my back garden in Cornwall, it overlooks a few farms and in the distance I can see Bodmin Moor. I head out for a hike every day in the neighbouring fields and woods and bring a small notebook and pencil with me for any lightning bolt moments. All my favourite places to write are outside and when I visit Bristol I make sure to take some time out to write beside the River Avon. Afternoons are generally spent working on the festival and doing interviews. What are you currently working on? I’m currently touring the UK with my new collection of prose-poetry, which celebrates the lives of working class women. It was published with Hypatia Publications in April. With my artistic director hat on, I’m also planning the finer details of the Working Class Writers Festival. Class Festival is a dynamic new festival of national significance based in Bristol, with a far reaching ambition to enhance, encourage and increase representation from working class backgrounds across the country, whilst connecting authors, readers, agents and editors. Commissioning and showcasing writers of all styles and disciplines is at the heart of this festival, providing a platform for both established and debut writers to get involved with both live and online events. The Working Class Writers Festival will not only provide a platform for working class writers, but will set precedence among festivals that will make attendance more affordable and accessible to all. What can we expect to see at the festival? Writers that are set to appear at the festival include Val McDermid, Paul Mendez, Graham Caveney, Kerry Hudson, Sam Friedman, Lorraine Brown, Mark Hodkinson, Juno Roche and so many more! 52 THE BRISTOL MAGAZINE

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Natasha Carthew

What inspires you? Tell us about some of the things that drive you to write. In my work I’m interested in socioeconomic issues, ranging from poverty to social isolation. It is these people’s stories that I am compelled to tell, the stories that may at first seem bleak, but are ultimately uplifting as the characters push for better. Social justice is at the heart of all my work, the simple fact that everyone deserves equal economic, political and social rights and opportunities. Describe your ambitions for your work going forward. I didn’t see working class identity in books when I was growing up and I still find it hard to find many working class writers that are published in the UK and I want to change that. I want to give readers a sense of belonging, so it’s always been my ambition to write stories that empower instead of isolate and this goes the same for Class Festival. Who deserves a special shout-out in Bristol for their work this year? For me it has to be the Festival of Ideas team. From the moment I met the director, Andrew Kelly, I knew I had met a like-minded soul and the support of the entire team has been priceless in the creation of Class Festival. Bristol Festival of Ideas aims to stimulate people’s minds and passions with an inspiring programme of discussion and debate throughout the year and is produced by Bristol Cultural Development Partnership. What music are you into? I’m a massive country music fan, but I’m really into an Australian band at the moment called Confidence Man. I first saw them in Bristol at the Dot to Dot Festival in 2017 at The Louisiana and they are incredible live (nothing to do with my nephew on drums!). • Keep up to date with festival news on social media: @ClassFestival

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Wells Cathedral School’s production of Les Misérables was staged at Strode Theatre

Teaching empathy In a world that holds unprecedented uncertainty and change, how best do we equip our learners of today to adapt and thrive in an unknowable tomorrow? What is the priority for them, artificial or human intelligence? Damian Todres, director of drama at Wells Cathedral School, argues that drama may hold the key...

Damian Todres

onsider the experience of being a child in the 21st century: tentatively exploring ‘who I am’ through the glaring lens of relentless social media feeds, with the emotional burdens of ‘always on’ connectivity, commentary and unprecedented self-comparison. Add to this the worries of climate change, perpetual political upheaval and the arrival of a game-changing pandemic. Such psychological pressures are compounded by the rapid pace of technological change, whereby more than half of children entering primary school today will ultimately end up working in completely new jobs that don’t yet exist. How can our young people be better prepared to cope in such a world? An indication of this direction of travel can be seen in the World Economic Forum’s recent Future of Jobs report, where we see employers prioritising ‘creativity’ and ‘emotional intelligence’ as capabilities they wish to see in their recruits; these more ‘human’ skills balancing what the current digital trends of artificial 56 THE BRISTOL MAGAZINE

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intelligence and machine learning are unable to bear. So as a result of the cultural and employment challenges facing our young learners today it seems that we may need to re-evaluate the kinds of knowledge and capacities that empower them to thrive in an unknowable future. And here we come to an old idea: Aristotle’s concept of ‘phronesis’, or ‘practical wisdom’, is an intelligence gathered from practical action and creativity that ultimately informs a person how to ‘be’ in the world. Concerned with not only the ‘head’ (what to know), but crucially, how to integrate this with the ‘hand’ (how to act) as well as the ‘heart’ (how to feel), Aristotle here emphasises the significance of not necessarily ‘what’ to know, but ‘how’ to know. So how do we provide opportunities to facilitate practical wisdom and emotional intelligence in our schools? I believe that teaching and learning drama is a compelling answer. Through embodying characters from other times and places, drama utilises the universality of human experience to imaginatively uncover shared

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EDUCATION

The facility to empathise holds profound value in developing a citizen of the 21st century and arguably enables the skills of collaboration, people management and negotiation...

emotional and personal connections. It is able to further develop perspectives between ‘self’ and ‘other’ due to its inherently social and collaborative modes of working, thus encouraging empathic thinking and behaviour through a consideration of multiple perspectives. During this iterative process, creativity and imagination help to establish a transformative space of possibility that supports farreaching benefits such as kindness, healing and understanding – qualities that are transferable to the wider life of the child. Not only do all of these traits explain how drama is able to foster practical wisdom, the discipline explicitly teaches what many consider to be one of the most urgent capacities in education: empathy. Originating from the German philosophical term

einfühlung (‘feeling into’) and the Greek root ‘pathos’, which translates as emotion, suffering and pity, it is now understood to mean the ability to move beyond ourselves in order to meaningfully understand the feelings and experiences of others. This facility to empathise holds profound value in developing a citizen of the 21st century and arguably enables the skills of collaboration, people management and negotiation necessary to be a success in modern life. Furthermore, the late and much-lamented educationalist Ken Robinson made an urgent call for empathy as the next educational disruptor, as he believed that many of the problems our children face are rooted in failures of empathy. In this way, the ability to ‘feel into’ is able to facilitate the development of a young person experiencing challenges into an agile, resourceful and resilient adult. As a drama teacher, this concern with practical wisdom and empathy has led me to pursue my own research which focuses on dramaturgical strategies that enable pupils to develop and deepen their foundational human capacity to imagine the world of another; a competency that may help them to adapt and thrive together in the modern world of an unknowable future. ■

Damian Todres is director of drama and head of the creative arts faculty at Wells Cathedral School, winner of Independent School of the Year 2020 in the performing arts category. The above is drawn from his final MSc dissertation entitled ‘Imagining the Other’ at the University of Oxford, which investigated how educators can facilitate and explicitly teach empathy.

Wells Cathedral School's Brass musicians at The Two Moors Festival

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THE BEST OF BRISTOL

There are plenty of ways to help: sign up to lend a hand for Bristol’s only adult hospice this National Volunteers’ Week

Mildred Ford (also pictured above, centre) worked at the first hospice shop in Knowle

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THE BEST OF BRISTOL

When it matters most The city’s only adult hospice is celebrating a milestone. We meet one of the first Bristolians to contribute their time at its flagship charity shop, and applaud the vital work of a wonderful organisation in real need of further funding and helpful folk

t’s been 40 years since St Peter’s Hospice opened a charity shop on Wells Road. Back in 1981, hospice care in itself was still a relatively new concept, developed by Dame Cicely Saunders 14 years earlier. The mother of palliative care in modern medicine, she established the first hospice – London’s St Christopher’s – in the late 1960s, prompting a working party to form and look at the feasibility of having a hospice in Bristol in 1969. The group included medical consultants, GPs, nurses, a surgeon and a solicitor, and when Dame Cicely came to Bristol to speak at a public meeting, enthusiasm increased. Fundraising began in 1977 and the first community nurse, Olive Martel, was appointed in 1978, with St Peter’s Lodge, as it was called, taking in its first patient – with beds for a further six – in 1980. If your life hasn’t been touched by this very special Bristol charity since then, the odds are that it will, directly or indirectly, at some point. And, boy, will you be glad they are there if you need them. Caring for adults with life-limiting illnesses, St Peter’s aims to improve the quality of their living and dying while extending support to loved ones. With only 20% NHS funding, it’s very much an autonomous organisation. Care is provided free of charge but costs £22,000 a day to deliver – some of that comes from gifts in wills and fundraising, but a large chunk comes from their charity shops so, with the pandemicrelated closures, income is significantly down. Commercial director Jayne Clarke levelled with us. “The charity has seen all its shops close for several months and the majority of major fundraising events cancelled,” she said. “Sadly we have been forced to reduce the number of beds in the inpatient unit at Brentry from 15 to 10 and we still face a significant deficit of around £1.1million for the financial year 2021/22.” The medical teams fought hard to maintain their high standards through distance restrictions, PPE and the extra worry among patients and families. “We know the unique level of care we provide sets us aside and the effects of Covid made that difficult. For a nurse, being unable to provide a hug or a hand to hold has been incredibly hard. Our teams rallied around to support with extra rounds of cleaning, work from home, homeschooling, rearranging events, providing therapy over Zoom. It has been challenging but we have shown agility in our ability to keep on being here for Bristol.” As the charity considered the cash flow, they knew they needed to look to the community in which they are so much embedded for help to fill the hole in their finances, and this included one pretty highprofile St Peter’s fan. “We were so lucky that long-term supporter Stephen Merchant agreed to launch the When It Matters Most campaign,” continued Jayne. “He gave his time generously. We cared for Stephen’s grandmother and a family friend so the family understand the care we can provide and the difference it makes.” The 40th anniversary has coincided with lockdown restrictions lifting so it’s an exciting time as the unique St Peter’s retail hubs reopen to Bristol bargain-hunters, and there’s plenty to browse – mobile donation stations received over 10,000 bags while everything was closed. With everything from vintage clobber to fabulous furniture ripe for the upcycling, the 47 local stores, including a coffee shop and a home store, provide a sustainable way to shop. Each is run by dedicated volunteers from all walks of life – students, Duke of Edinburgh youngsters, those who work part-time or are retired – who spend hours sorting donations, merchandising and delivering stock. Without them, the hospice wouldn’t be able to offer patients free care at tough times. “We have drivers, flower arrangers, gardeners, café workers, shop staff and counsellors as well as our Hospice

Neighbours scheme,” said Jayne. “We get so much from all these roles and we know the volunteers get an awful lot from it too, to such an extent that some people have been doing it for 25 years.”

Make like Mildred and roll up those sleeves National Volunteers’ Week is about to get underway – the perfect time, if one was needed, to lend a hand. Ninety-year-old great grandmother Mildred Ford was one of the very first volunteers at the original shop in Knowle – set up by hospice supporter, businessman and “absolute hoot” John Miles whose family had a big haberdashery in Bedminster. When Mildred began contributing her time on the Thursdays she had off from her job as a teaching assistant at Victoria Park Infant School, little did she think it would be an association that would last decades. But she rolled up her sleeves and soon became a familiar face. “I went along the day they opened,” she remembers. “I did a bit of everything, from sorting clothes to working behind the counter. We had no tills, just a cash box; we had to write down every sale and hopefully it would add up at the end of the day! Often we’d have more in the box than in the book but that was the better way round.” At that time, the idea of a charity shop was quite new. “There were second-hand shops but they were often seen as dumping grounds, and our shop was very upmarket. People were generous with what they gave; there weren’t many things you’d pick up with a finger and a thumb and fling straight in a bag!” One day a gold bar set with an amethyst even came in with a box of jewellery. “Two fellows who lived off the Wells Road, who I’d met at antiques fairs, valued it at 150 quid and we got about 100 for it which wasn’t bad going,” says Mildred. “Another lady came in with five beautiful cut-glass decanters. I sold the lot at school for £10 or £15 each – that was more than a day’s cash in the box. All the charity shops now are a bit more pie-hot on what they’re selling and it’s only fair – why sell something for 10p when its value is £10 and you can get £10 for it?”

We didn’t stop chatting and laughing... And we knew we were helping keep the hospice going Mildred drove a hard bargain. “You had your regulars and it was surprising how many asked if I could give them something cheaper. ‘No, not really!’ I’d say. We all like a bargain but it’s not an antiques fair where you can barter; you don’t barter with people’s lives.” She stopped volunteering when she retired but her support of the charity went on; Mildred helped at the Christmas bazaar for years and even completed an Ashton Court fundraising walk a few years ago. “It’s been a lot of fun and I’ve made marvellous friends. Often my friend Doreen and I, when we finished our morning stint in the shop, would visit the hospice shop in Clifton then treat ourselves to a pub lunch. We’ve had so much comradeship; we didn’t stop chatting and laughing unless we were drinking coffee or eating biscuits. And we knew we were helping to keep the hospice going.” ■ • Volunteers’ Week runs 1 – 7 June; volunteer@stpetershospice.org. For fundraisers including this month’s Tour De Bristol, July’s skyscraper abseil and September’s Great Bristol Run, visit stpetershospice.org THEBRISTOLMAG.CO.UK

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My health journey has taken me from crutches to running a Triathlon. Studying at CNM helped me do it. Angela MacRitchie, CNM Graduate in Naturopathic Nutrition, Herbal Medicine, and Naturopathy

was a county gymnast at the age of 19 when my knee swelled up and I could only walk with crutches. Over the next 20 years I had six operations, took heavy painkillers and was often bedridden with pain. After the sixth operation my consultant said “No more operations, I’m referring you to the Rheumatology clinic”. Prescribed a cocktail of powerful antiinflammatories, which, despite making me feel very unwell, brought down the swelling dramatically, meant that I could dispense

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with crutches, though I was still in pain. I was told I’d be taking anti-inflammatory drugs for life, so I began to investigate natural alternatives. When I explained to the rheumatologist the natural changes I was making, he was unimpressed. I told him I had challenged myself to do a triathlon in two years’ time, to which he replied, “No chance”. But my body increasingly began to wake up again and respond. Two years later, at the age of 46 I successfully completed my first triathlon. I’m now 48. It’s been four years since I’ve taken any medication. My knee is fine, I’m pain-free and enjoy more mobility than since I was a teenager. The only reason I haven’t done more triathlons is because I’ve been studying for three Diplomas at CNM: Nutrition, Naturopathy and Herbal Medicine. I learnt amazing facts at CNM which really helped my health. It turned out my blood had no Rheumatoid factor markers, so Rheumatoid Arthritis was never the problem. It was tough studying for three Diplomas and working full time, but everyone at CNM helped me. I now have three clinics offering my clients complete wellbeing packages. As a Naturopath I know the importance of giving the body what it needs for healing and

returning to balance and inspiring people to make positive change in their lives. I don’t have the words to express how much studying at CNM has changed my life.

Become a Nutritional Therapist or Acupuncturist with CNM Bristol Voted Best College/University - 2021 IHCAN Education Awards Discover how natural therapies promote true health and vitality. Our events are packed with inspiring tips on how to nurture yourself in natural, sustainable ways. And if you are thinking of turning your passion Geoff Don into a career, an Online Open Event will also cover what you need to know about studying at CNM.

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Weight Management options: From support to surgery Our weight and eating habits have been brought more into focus over the last year. Not only have we continually heard the news about links between obesity and poorer outcomes with COVID-19, but the lockdown restrictions have significantly impacted upon our daily routines, work, social life and exercise habits. Here, Nuﬃeld Health Bristol Hospital’s expert team of weight loss specialists oﬀer advice on the options available.

e know that weight management is more than simply making changes to diet and exercise; it is also impacted upon by stress levels and sleep, as well as other physiological factors such as our endocrine system, genetics and gut hormones. So, the worry associated with the pandemic as well as the changes to our habits from the lockdown restrictions have taken their toll on our weight and fitness. It has been the perfect storm for weight gain. Social media is flooded with discussion about lockdown weight gain which reflects peoples’ increasing worry about their health. If you were already struggling with your weight prior to the pandemic, it is likely that it feels significantly more difficult now. Working from home also offers challenges. By removing the boundaries around mealtimes and breaks, we can wander into the kitchen throughout the day and mindlessly grab something to eat, or skip lunch due to the change in routine. Both a grazing style of eating and skipping meals make it harder to manage weight. As a result of these factors, many more people are seeking help to refocus their eating and self-care routines. Our team of weight management specialists at Nuffield Health Bristol Hospital are able to provide a range of interventions to suit different types of challenges that people face. These specialist interventions include: Wellness Support Research tells us that 95% of people who reduce their weight through calorie restriction alone, regain all of their weight (and usually more) over a 3-year period. Our Wellness support therefore, focuses on building a psychological understanding of the way our mood, stress and habits impact on our eating, nutrition and weight. It is the broadening of focus that has been found to be most beneficial to longer term weight management rather than repeating old patterns of dieting. Medication for Weight Loss There have been significant developments in the medication used for weight loss. We prescribe Saxenda© (Liraglutide) which is similar to a hormone found naturally in our body. It works to reduce feelings of hunger whilst increasing a sense of fullness, activating areas of our brain that regulate appetite. When Saxenda is used as part of a weight management programme, people typically lose between 5-10% of their body weight in the first 16-weeks.

• Gastric Bypass This procedure involves creating a small pouch at the top of the stomach, which is then connected to the small intestine. As a result, the rest of the stomach is bypassed. By doing so, it not only reduces the amount that a person is able to eat but it also changes the gut hormones which are linked to hunger and feeling of fullness. It results in rapid weight loss in the first 6-months before stabilising over time.

Nuffield Health Bristol Hospital’s team of weight management specialists; consultant bariatric surgeon Mr Alan Osborne, consultant clinical psychologist Dr Vanessa Snowdon-Carr, dietician Dafydd Wilson-Evans, and consultant bariatric surgeon Mr James Hewes.

Elipse Balloon The Elipse Programme™ provides a combination of a state-of-the-art gastric balloon alongside dietetic and psychological support over a 4-month period. It does not require any surgery, endoscopy or anaesthesia and is placed in a brief, 20-minute appointment. The balloon is filled with a fluid and remains for approximately 4 months before passing naturally. On average people lose between 13-15kg in weight. Having an Elipse balloon at Nuffield Health Bristol Hospital also enables access to some of their gym facilities and a fitness assessment during the period of the programme. This approach tackles all of the elements that have been found to help with weight loss. Bariatric surgery The most effective means of sustainable weight loss comes from bariatric surgery. Our team includes experts in their field of surgery, dietetics and psychology. We are proud of our approach at Nuffield Health Bristol Hospital, in which we ensure that the procedure is right for you, with access to comprehensive multidisciplinary support, both pre- and postoperatively. We know, through understanding of research and years of clinical practice, that the most effective long-term outcome requires a more comprehensive approach to changing the way that you take care of yourself, as well as the highest standard of surgical care.

• Sleeve Gastrectomy This procedure removes a large section of the stomach, leaving a ‘banana-shaped’ section that is closed with staples. It reduces appetite in the short-term, as well as reducing the amount of food that can be eaten. Like the bypass, it also affects the gut hormones. • Gastric Band This uses a device that is placed around the top of the stomach, creating a small pouch. It is connected to a port placed under the skin so that fluid can be added to the band to adjust the pressure. It helps to make changes to the way a person eats, as well as enabling an earlier sensation of fullness. • Revision Surgery We also offer surgical support to individuals who are looking to revise or manage previous bariatric surgery. If you would like further information about the support we can offer you, join us for a free online information session to meet the team on Wednesday 23 June at 7pm. To book a place on this meeting, or if you have any questions, please contact the Enquiries team at Nuffield Health Bristol Hospital by calling 0117 911 5339, or visit our website: www.nuffieldhealth.com/hospitals/bristol.

We offer the following procedures, all performed laparoscopically using keyhole surgery: THEBRISTOLMAG.CO.UK

Nuffield Health Bristol Hospital 3 Clifton Hill, Bristol BS8 1BN nuffieldhealth.com/hospitals/bristol

JUNE 2021

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JUNE 2021

THE BRISTOL MAGAZINE 65

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CITY | INTERIORS

“We each have an innate, emotional connection with the pieces of art that are dear to us; they tell a story, our story.” JOHN LAW

Tom Faulkner’s Capricorn Plinth is a piece of sculpture in its own right, as well as offering an elegant plinth for sculptural pieces

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CITY | INTERIORS

Big visions What’s the largest art statement in your home? John Law, creative director of Woodhouse & Law gives his expert advice on featuring art in the interior that has a sizeable impact

rt and sculpture are both such important elements of interior design schemes, yet can so often get overlooked in those key early stages when pulling a room together. And more’s the pity; these are often the very pieces that can really help personalise a space, giving it not only depth but also a sense of individuality. Sometimes however, and excuse the pun, it’s easy to get hung up on how and where to introduce these elements to a scheme. Particularly with larger pieces, and in smaller homes. At times, though, a larger piece can really give that muchneeded scale to a room, while ensuring the space stays restful. For example, a large-scale landscape in a relatively muted palate can add depth and texture to a room without feeling overbearing. Often the key to ensuring a space can pull this off is to dodge convention. Try to avoid viewing each elevation of a room in isolation and defaulting to the placement of a painting centrally on a wall. Think instead about the room as a canvas overall, of how one wall interacts with another. For example, look at placing artwork over doorways, above larger pieces of furniture or by a fireplace. Consideration should be given to what lies beyond those four walls; of how the views beyond, to the garden or to the next room, might best be complemented. Large scale art needn’t be exclusively in the form of large canvas; it can be equally impressive to group together smaller pieces of art. In a recent project, we displayed ornamental objects alongside piece of art within a glass-fronted armoire to create a larger installation. This playful way of adding interest and depth to the dining room scheme allowed for these pieces to be changed over time, as and when new pieces are collected and new tablescapes created. A collection of maps, smaller paintings, or photographs, or indeed a combination of each of these can be equally impactful. What’s important however is that visually they sit well together. This might be through cohesive, complementary framing, or how they are displayed relative to the context of the room. The collection might subtly relate for example to the colour, form and texture of items on, say, a console table below. Many large-scale wallpaper designs can also create the same impact and drama as a large piece of original art. When arranging art on bold patterns, take care to avoid accidental clashes; this can be done through introducing wider mounts and clever framing to give each piece space. Equally, if a painting or print references a colour or pattern in the wallpaper behind, it can sit more comfortably. Sculpture can also be equally daunting. The first obstacle to overcome is the assumption that that sculpture must take the form of a dedicated piece. Many pieces of furniture and lighting have sculptural elements in their own right. For example, Tom Faulkner’s Ava dining table, or Porta Romana’s Rhomboid console table.

Tables by Porta Romana

WAYMARK II by Rosie Musgrave – Purbeck Pond Freestone on a slate base with wooden plinth.

Attracted to the stillness and quiet presence of stone laid down hundreds of millions of years ago, Rosie skilfully and subtly carves to reveal the intimate beauty of her chosen material CLIFTON CONTEMPORARY ART

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JUNE 2021

THE BRISTOL MAGAZINE 67

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CITY | INTERIORS

I was missing the lush vegetation and colours of my old home in Tobago so I invited a couple of artists from my gallery, Room 212, to recreate it in large scale on my garden wall. Its amazing how this colourful mural appears to increase the size of the garden and enlivens my whole living area

Gay Black Cats MC, 2017 by Grayson Perry

SARAH THORP AT ROOM 212

Created by artists Carla James and Emma Catherine with additions by Sarah and her daughter

Large artworks command attention, aesthetically and atmospherically. They are visually showstopping and oﬀer an impressive talking point HIDDEN GALLERY

Lighting can also be a great way to add a sculptural element to your scheme. Take the Gaia pendant and Murmuration installation, both by Ochre Lighting; these pieces are not only organic by nature but also introduce a powerful, moving design element to any scheme. We’ve found such organic pieces to work particularly well within Georgian homes. They offer a contrast to the strong, clean lines often found in the architectural detailing of these properties; in panelling, architraves, and shutters, for example. For those stand-alone pieces of sculpture, however, plinths are a great way to ensure they are displayed to their best. Our go-to is Tom Faulkner’s Capricorn Plinth; a piece of sculpture in its own right, its curved lines helping to draw the eye to the item on display without competing with it. Its concave form also helps introduce pieces to the corners of rooms and help to add interest to those with high ceilings. Whether a piece of art or sculpture, always take time to consider the subject of the piece. For example, in a recent scheme, we incorporated a portrait by emerging artist Hatty Butler, where the subject is looking up and out of the painting. We deliberately placed this piece on a double-height landing with a high window. Each day the portrait is bathed in sunlight, just as if the subject is seeking it out. We each have an innate, emotional connection with the pieces of art that are dear to us; they tell a story, our story, and without words, give a narrative to space in which they sit. And sometimes rules need to be broken to ensure that narrative is truly seen and heard. • Woodhouse & Law: woodhouseandlaw.co.uk; Clifton Contemporary Art: cliftoncontemporaryart.co.uk; Room 212: room212.co.uk; Hidden Gallery: hiddengallery.co.uk

Moonlight Murmuration by Credit Ochre Lighting

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THE BRISTOL MAGAZINE 69

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GARDENING

“Water is a calming element to include in any garden, and it doesn’t have to be a lake set in rolling acres or even a large pond,” says Elly.

Wet and wild

everal years ago, not too long after I moved into my current house, some friends bought me a self-contained water feature for the garden. Towards the end of last year I noticed it had stopped working, but on a sunny day in spring I decided to try taking it apart and poking some wire in a tube to unblock it and get it going again. Happily it worked, so I’m now enjoying my garden even more with the relaxing sound of running water. Water is a calming element to include in any garden, and it doesn’t have to be a lake set in rolling acres or even a large pond. A simple bubbling fountain water feature, or a pond in a half-barrel or glazed pot is fun to create and will add that little bit of extra interest without costing a fortune or involving too much groundwork or digging, if any. Deciding on the type of water feature that you want to include is like any other design consideration. Do you want it to be formal or informal, traditional or contemporary? Is there a particular material that you love or hate? What will fit in well with the rest of your garden and the existing materials? Will you want to keep ornamental fish, or will the emphasis be on wildlife, or on the sight and sound of the water itself? You may also need to consider safety if there are young children using the garden. The next thing to think about is location, location, location. I would always recommend including some seating near to your water feature so that you can fully enjoy its relaxing and hypnotic qualities. It’s likely to become your favourite spot, where you can sit and watch for dragonflies and other wildlife, so an area that gets sun for at least part of the day may be important – and is vital if you are building a pond, 70 THE BRISTOL MAGAZINE

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which will need sunlight for pond plants to thrive. It’s also best to avoid siting a pond too closely to trees and shrubs that will drop their leaves into the water and cause it to go stagnant. Small water features with built-in pumps will also run more smoothly if they don’t get clogged up with leaves and other plant debris. A pond for wildlife needs to be at least 60cm deep in the deepest part, so that it will stay cool in summer and avoid freezing solid in winter. It also needs at least one side to be shallow enough for frogs and other creatures to climb in and out. A sloping pebble ‘beach’ is ideal, and when you build your pond, include shallow shelves at the edges for plants. It’s a good idea to include lots of plants in a wildlife pond, to create a mini ecosystem that will (hopefully!) take care of itself and keep the water clear. A combination of deep-water plants such as lilies, combined with marginals, like rushes and water irises, will help to keep the water healthy and provide hiding places for wildlife, and sitting places for lily-pad-loving frogs! If you don’t have the room, or inclination, for a pond then a bubbling pebble pool or stand-alone feature is a nice alternative that is decorative and provides a relaxing sound. You’ll need an electricity supply nearby, but most are very simple with a small pump that circulates water from a reservoir. This might already be built into the feature, or is easy to construct by digging a hole for a sump that will hold water along with your pump, then covering it with a grid with stones or pebbles on top. The water is then pumped up through a tube and out through a small spout, where it runs over your feature and

Image: Adobe Stock

As summer approaches, Elly West explains why adding blue spaces can transform our gardens into outdoor havens

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GARDENING

Plant of the month: Roses I would always recommend including some seating near to your water feature so that you can fully enjoy its relaxing and hypnotic qualities back down into the reservoir. Keep your water feature topped up in summer so the pump doesn’t run dry – and keep it clean so that debris doesn’t cause it to clog. Even simpler – and with no need for digging or electricity – is a pond in a container. Just about anything that holds a decent amount of water will do – it doesn’t have to rival Bristol Aquarium – and you’ll attract thirsty birds and perhaps even frogs and tadpoles if they can get in and out. Make sure your container is water tight. A half-barrel, a large glazed pot or a zinc trough make great miniponds; add a few plants, then sit back and wait for nature to move in. For inspiration, visit Westbury Court Garden in Westbury-onSevern, a Dutch water garden dating back to the 17th century. At the time of writing, the gardens were open Wednesday to Sunday, with booking essential. Visit nationaltrust.org.uk/westbury-court-garden to find out more. ■ • ellyswellies.co.uk; Instagram: @ellyswellies1

I used to be ambivalent about roses, I’m not sure why. Maybe it was the thorns, or perhaps because I thought they were difficult, or because I couldn’t quite shake off that old-fashioned image of shrub hybrid teas, planted in a row. Now, however, I can appreciate their many qualities. Today’s roses are both tough and stylish, and mix well with both contemporary and cottage-planting schemes, alongside perennials, ornamental grasses, or trained over a pergola or arch. There’s a reason why they regularly top the list of our favourite garden plants. Many will flower right through the summer, offering both colour and fragrance, followed by attractive hips that attract wildlife to your garden. Roses need lots of nutrients, so do well on our Bristol clay soils. They will still benefit from digging in some well-rotted manure or compost when you’re planting a new rose, or around the base of the plant in spring or summer to give it a boost. I also dump the wood ash from my log burner around the base of my roses, as it gives them a feed of potassium. The David Austin website (davidaustinroses.co.uk) is a great place to start if you’re not sure which one to buy. You can search by colour, type or situation, and it also lists thornless varieties.

Create space with a garden room GARDEN OFFICES • LOG CABINS • STUDIOS • SUMMERHOUSES POSH SHEDS • TIMBER GARAGES • OUTDOOR LIVING SPACES

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JUNE 2021

THE BRISTOL MAGAZINE 71

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ADVERTORIAL FEATURE

The perfect time to buy and move to Redland Court

ith half of the first phase already sold and residents moving in to Redland Court, the development is coming to life. Apartments in the Science Building are now ready for occupation, and with no two units the same, now is the ideal time to book a private tour of these exceptional homes and duplex. There is also the added advantage that the development falls within the Redland Green School catchment area. Families looking apply to the School for admission 2022, could find a perfect home here, with the six new 2 and 3-bedroom family town houses. Due for completion later this year and well in time to meet application criteria. If space to work from home is on your ‘must have’ list as well as outdoor space, Redland Court meets them both. Each building on the scheme has a specification designed to match its character and period. The Science Building is a more contemporary specification; skirtings and architraves are matched to wall colours for a visually dramatic seamless effect. The Old School provides a contemporary elegance with Grade II listed features. Open plan living spaces, a feature in so many of these stunning apartments, along with space to socialise and many private outdoor courtyards and terraces. With the open plan living space, extensive grounds, and private outdoor spaces, you have the best of both worlds.

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Just available, two individual detached homes. Do not miss these two unique detached homes – both stunning in their own right and both ready to view by appointment. Woodstock Lodge is a contemporary single storey home with 3-bedrooms and a must-see lightflooded living space with stylish kitchen. There is plenty of space for formal dining and relaxing, including a private terrace. West Villa reflects the Georgian splendour of the Manor House. A breath-taking roof top terrace with far-reaching views across the City, plus more private outdoor space at ground level makes this a must-see home. The internal layout will not disappoint either, there is a stunning hand-built kitchen set in a large kitchen/breakfast room, two further living rooms and two bedrooms, each with an en-suite bathroom. Both homes provide coveted dedicated parking. Set in 3-acres of private residents’ gardens, Redland Court is Bristol’s most prestigious landmark development. One thing is for sure, with so much thought, attention to detail and exceptional specifications these homes will not be on the market for long. Don’t miss the opportunity of a private tour of this landmark development. 1-bed apartments from £395,000 • 2-bed apartments from £525,000 • 3 and 4-bed apartments from £895,000 - £1.5m. For further information please call Savills on 0117 910 0360 or Ocean on 0117 946 9838

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Bristol & Clifton’s premier Commercial Property Agents www.burstoncook.co.uk

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ST GABRIELS COURT, BS5

38 WHITELADIES ROAD

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(0117) 934 9977

BRIDGEWATER ROAD (‘AIRPORT ROAD’), BRISTOL

GROVE HOUSE, CLIFTON

92A WHITELADIES ROAD

45 HIGH STREET, BS1

RHUBARB TAVERN, BARTON HILL, BS5

Finola Ingham MRICS

Tom Coyte MRICS

Holly Boulton BSc(Hons)

P76.qxp_Layout 23 20/05/2021 13:08 Page 49

No compromise for second time buyer at Factory No.1

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om Marshall, 38, was keen to set down roots in a vibrant area, but he wanted a newly built home, which is why he chose Factory No.1 in Bedminster, Bristol by heritage developer City & Country.

Tom explains: “I wanted somewhere near to friends I had in the city, as well as proximity to Bristol City FC and Bristol Bears Rugby Clubs, where I hold season tickets. I also liked the idea of a new build which I didn’t have to paint over someone else’s taste in wall colour.” “I first visited Factory No.1 back in January 2020. I viewed a few more properties after that, but I kept comparing everything to Factory No.1: I knew that it was where I wanted to be.” Once a prominent tobacco factory, the Grade II listed buildings and grounds are being transformed into stylish new and conversion apartments. The one- and two-bedroom apartments are designed with modern living in mind, boasting generous, flexible living spaces and premium interiors. Of his new home, Tom says: “My one-bedroom apartment is perfect for my needs. The internal space is great, it has a nice balcony, and overlooks the area’s colourful buildings and the Wills Memorial. Despite being in the middle of the city, I don’t feel closed in at all – the courtyard is very quiet, an oasis within the bustle of Bristol.” Factory No.1 is located at the gateway to one of Bristol’s most popular areas, with residents surrounded by local amenities and just a short walk to the city centre and Bristol Temple Meads train station. Tom says: “It’s such a draw having all of Bedminster’s amenities on my doorstep – pubs, restaurants and independent shops.” Apartments at Factory No.1 are priced from £330,000 and are available with Help to Buy*. To arrange a private viewing, please call 01173 219 729, or visit www.cityandcountry.co.uk/factoryno1 *Prices correct at time of writing and are subject to change. Help to Buy T&Cs apply visit HelptoBuy.gov.uk for more information.

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IT’S THE NEWSLE TTER

YOU’LL ENJOY READIN G

Redland Court fp.qxp_Layout 1 19/05/2021 11:48 Page 1

Rupert Oliver FP June.qxp_Layout 1 19/05/2021 10:39 Page 1

Clifton, Bristol | Guide Price £1,895,000 A beautiful Grade II* Listed family home overlooking Victoria Square with elegant, well-proportioned accommodation, a self-contained apartment and a private walled rear garden. Exquisite Grade II* Listed family home | Self-contained one-bedroom apartment | Flexible accommodation over four floors | Superb edge of Clifton village location | Retained period features throughout | Full width sitting room with canopied balcony; separate dining room and a family kitchen | Light-filled conservatory overlooking the garden | Five double bedrooms | Two further bath / shower rooms and a separate utility room | Charming walled garden accessed via the hall floor

In all circa 4624 sq. ft (430 sq. m).

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Clifton, Bristol | Guide Price £695,000 A fabulous four-bedroom family home in a highly sought-after location with a sunny west facing garden, light-filled loft conversion and catchment to several excellent local schools. A superb family home situated between Clifton Village and the harbourside | Elegant and versatile accommodation arranged over three floors | Light-filled sitting room with a wood-burning stove | Stunning kitchen / dining room with full-width bi-folding doors to the garden | Beautiful light-filled loft conversion with an en-suite shower room | Three further bedrooms and a separate family bathroom | Fully enclosed west-facing family garden | Potential to negotiate the purchase of a separate home-office | EPC: Pending

In all circa 1344 sq. ft (125 sq. m) .

REDLAND BS6

GUIDE PRICE

£660,000

An extended three-bedroom 1920’s end of terrace home. Excellent views of the surrounding area and towards the city. Attractive south west facing rear garden, off street parking. Viewing highly recommended.

CLIFTON BS8

GUIDE PRICE

£1,450,000

An exquisite Victorian family home with self-contained lower ground floor flat. A versatile and wellpresented five bedroomed interior. Exceptional kitchen/breakfast room. Beautifully presented lawned garden offers a great deal of privacy. An open outlook enjoyed over the surrounding area. Superb Clifton location situated between Whiteladies Road and the Village.

0117 923 8238

www.howard-homes.co.uk

hello@howard-homes.co.uk

KINGSDOWN BS2

GUIDE PRICE

£550,000

A beautifully presented three-bedroom Victorian house. Excellent central location. Two reception rooms and separate kitchen. Attractive bathroom and original fireplaces. Enclosed walled garden.

REDLAND BS6

GUIDE PRICE

£1,200,000

An impressive five-bedroom family home with a beautiful rear garden and baclony. Versatile ground floor accommodation. Off-street parking, superb Redland location.

203 Whiteladies Road, Clifton, Bristol BS8 2XT

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The Bristol Magazine June 2021

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