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VIVA
B R I G H T O N
#67. SEPT 2018
EDITORIAL
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.......................
Viva Magazines is based at:
Lewes House, 32 High St,
Lewes, BN7 2LX.
For all enquiries call:
01273 488882.
Every care has been taken to
ensure the accuracy of our content.
We cannot be held responsible for
any omissions, errors or alterations.
I heard recently that the UK’s creative industries
are worth upwards of £90 billion per annum and
are expected to grow faster than any other sector
in the economy. They’re also the least likely jobs
to be replaced by artificial intelligence. So, as
everyone goes back to school, I wonder, are we
educating our children to be creative enough for
the future?
Giving the right answers becomes increasingly
important as you go through school, and, with the
focus on teaching to measurable targets, time for
creative play, free thinking and experimentation is
squeezed out of the timetable. But I would argue
that we don’t always need to be instructed as to
the ‘right’ answer. That being allowed the time to
figure things out can lead to new and surprising
solutions. That being really intelligently wrong
is not a bad place to be. “There is freedom in
not knowing everything,” says Little Inventors
founder, Dominic Wilcox (see pg 70), and I’m
inclined to agree with him.
So in our ‘rock, paper, scissors’ issue we’ve sought
out people who can take an idea, some materials
and some know-how, and engineer a solution.
People who know one end of a chisel from the
other and who aren’t afraid to try out new things.
Who value the chance to get hands-on and to test
their theories in the real world, or even in space,
as one Sussex Uni physicist is about to get the
chance to do. In short, it’s full of people who can
both make a box and think outside it too.
HURSTPIERPOINT COLLEGE
VIVA
B R I G H T O N
THE TEAM
.....................
EDITOR: Lizzie Lower lizzie@vivamagazines.com
DEPUTY EDITOR: Rebecca Cunningham rebecca@vivamagazines.com
SUB EDITOR: David Jarman
ART DIRECTOR: Katie Moorman katie@vivamagazines.com
PHOTOGRAPHER AT LARGE: Adam Bronkhorst mail@adambronkhorst.com
ADVERTISING: Hilary Maguire hilary@vivamagazines.com,
Sarah Jane Lewis sarah-jane@vivamagazines.com
ADMINISTRATION & ACCOUNTS: Kelly Hill kelly@vivamagazines.com
DISTRIBUTION: David Pardue distribution@vivamagazines.com
CONTRIBUTORS: Alex Leith, Alexandra Loske, Amy Holtz, Andrew Darling, Ben Bailey,
Cammie Toloui, Chloë King, Chris Riddell, Elise Ilett, Emma Chaplin, JJ Waller,
Jacqui Bealing, Jay Collins, Joda, Joe Decie, John Helmer, John O’Donoghue,
Lizzie Enfield, Mark Bridge, Mark Greco, Michael Blencowe and Nione Meakin
PUBLISHER: Becky Ramsden becky@vivamagazines.com
Please recycle your Viva (or keep us forever).
eautifully imperfect since 2009
CONTENTS
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Bits & bobs.
10-27. The ever-elusive Batman breaks
cover; Alexandra Loske unveils the
refurbished saloon at the Royal Pavilion,
and glass-animal man Bill Axcell is on the
buses. Elsewhere, JJ Waller photographs a
rocket in an unlikely place; Joe Decie does
some old skool home-schooling; we have a
pint (and a game of Space Invaders) at The
World’s End; discover an honest guide to
fatherhood; avoid a punch-up with a drunken
octopus, and much more besides.
My Brighton.
28-29. Artistic Director of Same Sky, John
Varah, on building creative communities.
31
Photo © James Winspear
Photo by Malin Johansson
Photography.
31-37. James Winspear photographs makers
and their spaces.
55
Columns.
39-43. Lizzie Enfield is (unintentionally) off
grid; John Helmer revels in relief, and Amy
Holtz is incomprehensible.
On this month.
45-59. Ben Bailey rounds up the Brighton
gig scene; we head out of town for AL
Kennedy at the Small Wonder short story
festival; meet the woman over fifty behind
the Women Over Fifty Film Festival, and
a family who built a charity out of a crisis.
There’s a rockstar lutenist at the Lapwing
Festival; Augusto Corrieri contemplates
what becomes of an empty theatre at
ACCA; José González, forever on the road,
stops off at the Dome; choreographer
Andrea Walker explores transgender experience
through dance and hip hop at The
Old Market, and there’s a chance for kids to
get creative backstage at the Theatre Royal.
....7 ....
CONTENTS
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Art & design.
60-71. Brighton Photo Biennial returns
for its 8th edition with new curator Shoair
Mavlian. We peel back the layers of paper-flower
making with Susie Beech; Chloë
King discovers what happens when you
take young inventors’ ideas seriously, and
we round up just a bit of what’s on, art-wise,
this month.
The way we work.
73-77. Adam Bronkhorst makes pictures of
people who work with rock, paper, scissors
(and clay, leather, wood and metal too).
Food.
79-83. Bison Beer’s not-so-humble bar
snacks; a brownie that sounds like it might
be good for you from The Mighty Seed; a
village pizzeria, and a few more morsels of
food news.
68
73
Features.
84-95. A chef-meets-potter collaboration
that’s turning waste glass into tableware;
drawing for wellbeing on the NHS, and
the lowdown on becoming an industry
-ready graphic designer (in twelve weeks)
from Bill Strohacker. There’s a newly commissioned
sculpture and celebratory garden
party for a historic house; old seamlessly
meets new at the gleaming new galleries at
Charleston, and one Sussex physicist finally
gets to blast his experiment into space.
Wildlife.
97. Michael Blencowe takes a loving look at
the female Wasp Spider.
Inside left.
98. Likely lads, 1925.
Photo by Adam Bronkhorst
....8 ....
Imogen
Lower Sixth
Academic and
Drama Scholar
You are warmly invited to our
Senior School Open Morning
Saturday 15 September 2018
9.30am to noon
HMC – Day, weekly and full boarding
Boys and girls 13 to 18
(Entry at 13 and 16)
To register please contact:
admissions@bedes.org
T 01323 843252
or online at bedes.org
Bede’s Senior School
Upper Dicker
East Sussex BN27 3QH
THIS MONTH’S COVER ARTIST
.......................................................
This month’s cover art is the work of Batman (not
the caped superhero, although you may occasionally
spot him perched on the edge of a rooftop). This
is the local graffiti artist who’s been working under
the name for the past seven years. “It was kind of a
novelty,” he says of the pseudonym. “I just wanted
something a bit silly and fun. If I was gonna go
deeper I’d say it’s like an alter-ego thing, because I
suppose graffiti’s been a bit like a separate life for
me… but that wasn’t the original reason, I made
that up later.”
Batman found his way into graffiti at a very young
age: “I’ve been interested in it since I was about
eight or nine years old,” he says, “so I started earlier
than a lot of friends of mine. I think graffiti is the
perfect form of expression when you’re like 15
to 18, and you’re trying to be a bit rebellious and
form your own identity – that was why I found it so
fascinating. And there was a lot about the mystery
of it that got me engaged initially. As you get more
involved, you get to know who’s doing what and
how they’re doing it, so the mystery goes a bit
and instead it becomes much more about the
quality of the work you’re doing.”
Over the past couple of years, Batman’s work
has taken on a new purpose. “I’ve been getting
more into environmental activism – that’s been
quite an interesting journey for me. Graffiti is
powerful because it’s in a public space, it gives
you the opportunity to raise awareness about
certain things.” A recent piece that gained a lot
of attention highlighted Shell’s ‘greenwashing’
of non-sustainable energies, painted at one
of the city’s busiest graffiti spots, Trafalgar
Lane. The response to that has been “really
positive,” he says. “It’s been up for like a month
and a half, and just for it to stay for that long
is really nice. The turnover on Trafalgar Lane
is so high that the piece staying up and people
....10....
BATMAN
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having respect for it really means a lot to me. I’ve got
an intention with any work that I do in the future to try
and integrate some of those messages, and to use graffiti
as a platform to communicate things.”
As well as his graffiti work, Batman is part of a group of
artists called The Friendly Gang: “There’s about ten of
us, and it’s about openness and just being cool to people
and trying not to have the egos in the way so much.
We’ve done a couple of shows now and they’ve both
been really fun; just a lot of people that are really open
to interesting conversation and having a nice time and
not trying to inflate themselves too much, that’s been
the priority.” He’s also been producing a limited number
of screen prints, which he sells through Instagram. “I’ve
been exploring screen printing as a technique because it
suits my style so well, it’s great to be able to utilise that.”
Follow his work at @batman.saves
Rebecca Cunningham
....11....
BITS AND BUSES
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ON THE BUSES #41: BILL AXCELL (ROUTE 12A)
The name Bill Axcell might not mean much to you but, if you spent any
time in Brighton between the 60s and the 80s, you’d probably remember
‘the glass animal man’. That was Bill, in his yellow-tinted specs, working
away making lampworked glass trinkets as seaside souvenirs. Born in
Leigh-on-Sea, Bill moved to Brighton in the 50s, first setting up shop in
a booth by the aquarium and later at 28 Queens Road, where enthralled
passersby continued to press their noses against the window, watching Bill
turn glass rods into all sorts of creatures. He was always open to requests;
seahorses, dragons, swallows, poodles, Alsatians, Siamese cats, octopi,
elephants holding hands - but, it seems, not squirrels. According to one fan of Bill’s; ‘like others, I spent
hours watching him work. I asked him for a squirrel and was told: “I don’t like to make them”. Instead,
I watched, with a sense of amazement, as he created a wonderful giraffe for me, which, thirty years later,
I still treasure.’ The sense of wonder was well shared, including by Bill himself, who maintained that he
never did a day’s work in his life as his job was his hobby and life-long love. There is a brief clip of Bill in
his element - at work - on the British Pathé website [britishpathe.com]. He continued to create his fragile
trinkets in his Queens Road shop until he died in 1991, at the age of 63. Lizzie Lower
Illustration by Joda (@joda_art)
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SPREAD THE WORD
Actor, voice artist and VB reader Philippa Hammond
took our botanical issue to Castle Cornet,
the 800-year-old castle which stands at the mouth
of the harbour in St Peter Port, Guernsey. She
was snapped here by mum Anthea and completely
unruffled by the firing of the noon-day gun.
Here we are in Taipei, with Davide Cusseddu and
Victor Juma. Both completing a maths PhD at
Sussex, they were at a conference in the city and
took some time out to do a little guerrilla marketing
for the Sardinian reggae band Riptiders (Davide
is from Sardinia) and for Viva too! “I would
love to go around the world spreading music,” says
Davide, “but I’m still far away from earning a living
doing that!” Keep taking us with you and keep
spreading the word. Send your pics and a few words
about your trip to hello@vivamagazines.com
....13....
CURATOR’S CITY
...............................
‘SUPERIOR TASTE AND COSTLINESS’:
THE REOPENING OF THE ROYAL PAVILION’S SALOON
The Saloon in 1823. All images © Royal Pavilion & Museums
This month the Saloon, one of the grandest state
rooms of the Royal Pavilion, will reopen after
a six-year intensive restoration project, which
included the re-creation of the lost Axminster
carpet, the silvered wall decorations, the splendid
crimson-coloured silk curtains and many more
features of this shimmering and sparkling interior,
originally introduced in 1823.
The Saloon is located on the east side of the
Pavilion and formed part of a suite of rooms of
the neo-classical ‘Marine Pavilion’ designed by the
architect Henry Holland in 1787. The room has
never changed its shape or central location and has
retained its high status throughout all the decorative
changes it has undergone. It was decorated
four times in George IV’s tenure: the first scheme
was neo-classical, like the exterior; this was replaced
by a chinoiserie scheme in 1802 (modified
in 1815), which gave the air of a Chinese garden
arbour, complete with Chinese export wallpaper
depicting birds, trees and flowers. In 1823 this in
turn was replaced with a scheme by the myste-
....14....
CURATOR’S CITY
...............................
rious genius Robert Jones. He transformed the
Saloon into a room of imperial magnificence and
grandeur appropriate to George’s changed status
from Regent to King in 1820. This was achieved
through the use of lavish gilding, crimson silk and
silvered wall decoration.
This kind of splendour did not come cheap: in
an early complete description of the Pavilion
from 1838, the Brighton historian EW Brayley
commented that the Saloon was of ‘a style of far
superior taste and costliness than had previously
exhibited’. His detailed descriptions of individual
features give a better idea of the magnificence of
the room: ‘Large vases, of China, and other vessels
in rich settings, beautifully wrought with sundry
kinds of insects in low relief, constitute a part of
the ornamented furniture of the Saloon; which
also includes some fine cabinets, and splendid
ottomans of ruby-coloured silk, fringed with
gold, with couches and chairs of corresponding
elegance. The carpet, which is of Axminster manufacture,
and wrought on a circular plan to fit the
room, accords with the other decorations. In the
centre is a dragon and two serpents, surrounded by
lotus flowers and leaves; roses, stars, serpents, and
other forms, alternating succession, diversify the
borderings.’
Like all other rooms in the building, the Saloon
was stripped of its contents in 1847-8, following
Queen Victoria’s decision to dispose of the
Pavilion. Most of the furniture and fittings,
including the stupendous chimneypiece, were sent
to Buckingham Palace. Since then the room has
seen some partial restoration, and original features
from the Robert Jones scheme were reinstated,
including the eight pilasters returned by George V
in 1934. The newly completed restoration allows
us to once again experience the complete sequence
of state rooms on the east side of the Pavilion
and imagine we are in the ‘superb and elegantly
ornamented apartment’ of 1823. Alexandra Loske,
Art Historian and Curator, The Royal Pavilion
The Saloon will reopen on 8th September 2018.
From 15th September a display in the Prince Regent
Gallery in the Royal Pavilion will tell the story not
only of the room itself, but of the expertise of the
conservators, curators, artists and technicians who
completed this complex restoration project. Free
with admission to the Royal Pavilion.
The Saloon in 1790 The 12 colours of the new Axminster carpet Designs for the new Axminster carpet, by Anne Sowden
....15....
FAMILY TICKETS
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THE
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By David Walliams
Adapted by Bryony Lavery
Music & Lyrics by Joe Stilgoe
Ages 7+
WORLD PREMIERE
13 October – 3 November
cft.org.uk/forfamilies 01243 781312
JOE DECIE
...............................
....17....
BITS AND PUBS
...............................
PUB: THE WORLD’S END
In 1979, when me and my mates were just
shy of 16, the arcade game Space Invaders
became a big obsession. We used to go
down the arcade on West Street to play
it. When, in the same year, my favourite
band, The Piranhas, brought out a single
called Space Invaders, our cup was full.
Two obsessions in one hit!
Since then arcade games have moved
on somewhat, but I didn’t go with them.
In fact, I got lost somewhere between
Galaxian and Donkey Kong.
Which is why I feel a bit wary approaching
The World’s End, on London
Road, a pub I’ve never been in before.
The whole place, you see, is dedicated to
arcade games. Modern arcade games.
Back in 1979, it wasn’t even a pub. It has
had many incarnations in its 100+ year
history, spending much of its life as a
furniture store (Cobb’s) before turning
into a FADS (a DIY chain owned by Bill
Archer) then a Marley’s Homecare. It became
a boozer in the late nineties when it
was reincarnated, after some years empty,
as The Hogshead. Those were the days
when pubs were being given ‘authentic’
sounding names like that.
It became The World’s End in 2006, and
around ten years later got its current facelift,
a giant squid spreading its tentacles
across the large blacked-out windows on
the first floor, publicising Kraken rum.
Not a place designed to entice a 50-plus
bloke inside.
But this is a Laines pub, meaning there’s
a big choice of good beers on offer, which
pulls me through the door into the spacious, high-ceilinged
interior. Turning my back to the virtual reality booths opposite
the bar (it’s 6pm, nobody’s playing on them yet) I opt for
a craft lager from their massive steel tun. I’m not hungry, so
I forego the food – the ‘Killer Bites’ menu includes burgers
like ‘The Mario’, ‘Shroom Raider’ and, gloriously, ‘Spice
Invaders’.
I wander upstairs. A guy with a baseball cap is turning on all
the other machines, including one which looks like a superannuated
Scalextric game. Then I spot a familiar-sized machine.
It’s an old-fashioned stand-up arcade console, and on it I find
Space Invaders. I stick in my quid, and am suddenly filled
with a familiar mix of terror and excitement, as a phalanx of
green monsters starts marching across the black screen in
front of me, making that noise…
Alex Leith
Photo by Jay Collins
....19....
BITS AND MOGS
...............................
CATS SEEKING LAPS #4
Single White Male Seeks Cuddle Friend
Name: Max
Age: 11 years
Occupation: Lovable gummy bear
Me: Hopelessly romantic, sensitive-but-rugged
outdoorsy type. Recently went on a spontaneous
adventure in the wilds of Eastbourne and
had to be rescued: starvation, fur loss, search
party... long story. I’m back now, a little rough
around the edges but ready for something real
with the right person. Missing a few teeth - ok,
all my teeth - but feelin’ good and, after all,
looks aren’t everything.
Interests: The Great Outdoors (I’m a bit of a
bird nerd), soft food, spiders and clean laundry.
Seeking: Someone who values life experience,
who knows that heartbreak only makes you
stronger and wiser, who enjoys dinner and a
movie - maybe even a bit of lap-sitting and stroking
if the mood takes us. Must be willing to mash
my food and groom me.
Dislikes: Unexpected guests, mastication,
commitment-phobes, the Eastbourne Badlands.
Words and picture by Cammie Toloui
Find Max and his many feline friends at Raystede
Centre for Animal Welfare. All their animals are
vet-checked, microchipped and character-assessed,
and Raystede provide life-long support and advice
for their rescued animals. raystede.org
BITS AND BOX
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CHARITY BOX #29: MARTLETS HOSPICE
Martlets has been here 21
years. At the hospice we have
an inpatient unit with 18 beds,
but most of the care we offer
is outside of the hospice in patients’
homes or through our
day services. Having a terminal
illness doesn’t necessarily mean
that you’re going to die any time
soon. We like to have somebody
referred to us as soon as possible,
so that we can help them to live
well for as long as they can.
The first stage is that they will
be referred to us, by their GP,
nurse or hospital, and we will
assess their needs. They may only
need ad-hoc, light-touch interventions
from us for quite a long
time. They can access what we
call our day services – therapies,
clinical expertise, advice – and
they can pick and choose from
all the things on offer. We have
massage, reiki, tai chi, all sorts
of therapies – all given to us as
services by volunteers. They
can come in for welfare advice,
hairdressing and pampering; we
have a gardening group, a choir,
social events.
Half of the patients that stay in
our inpatient unit do go home
again. Some are here for respite
care, so their carers can have a
bit of a break, or because there’s
been a change in their symptoms
and they need some short-term
support. We do have some cases
where people stay here right
through to end of life care, or are
supported to die at home. If that’s
what they want, we will move
mountains to make that happen
for them. The last place many
people want to be when they die
is in a hospital, so we really try
to prevent unnecessary hospital
admissions.
I think there’s a perception
that we’re run and funded by
the NHS, but we’re not. We
need to raise £7 million a year to
run the hospice and that comes
from a number of sources. Our
biggest income source is from
legacies – people leaving a gift in
their will. The NHS provide £1.5
million a year, and we have income
generated from a subsidiary
company called Martlets Care,
a domiciliary care agency who
donate all their profits back to
the hospice. The rest comes from
our shops and from all sorts of
fundraising events.
Snailspace is a huge fundraiser
this year, which we hope will
raise in the region of £300,000
for the charity. There are 50 large
snails, which are sponsored by
local companies, and each has
been decorated by a different
artist. This year there are also
57 junior snails that have been
painted by schools, youth groups
and nurseries, and they’re going
to be part of the trail as well.
They’ll all appear on the streets
of Brighton & Hove on the 15th
of September. There’s a map, and
there’s an app you can download,
which unlocks all sorts of special
offers and competitions. You can
get all the information from the
website: snailspacebrighton.co.uk.
As told to RC by Sally Brighton
themartlets.org.uk
....21....
ADVERTORIAL
A Call to
Adventure!
Have you ever wanted to just get up
and go? To leave the rat race behind
and discover what amazing treasures
the world holds?
Of course you have. But, how? That’s the question
Brighton residents Harry and Georgina Kelly asked
themselves 6 months ago, and now the couple are
driving around Europe in a camper van with no
intention of coming home anytime soon.
“We’d always wanted to do some proper travelling
and when we both got an unexpected break
from work, we just thought, why not?” Georgina
Explains.
“We wondered how we’d pay for it, but started to
think about all the wonderful places we’d stayed
through Airbnb and thought that by renting our
home to Brighton holidaymakers we might be
able to get some income that way.“
The couple had heard about Airsorted from a
friend’s recommendation and decided to give
them a go
“After having a friendly chat with us, they listed
our home on all the rental sites, including
Airbnb and within 5 days we were off! They’ve
managed all the communications, keys,
cleaning and even topping up the shampoo and
shower gel! It’s been completely hassle-free”,
Harry adds.
“We also have access to our Airsorted ‘dashboard’,
so we can see our bookings and are
kept in the loop when we’re away, which gives
us peace of mind. Income is deposited every
month, so we don’t even have to think about it.”
The Kellys are planning on heading to Italy next
before they embark on a trek through Eastern
Europe. “We’ve just spent the last month in
the South of France, biking our way around the
Languedoc region. We started in the Netherlands
and took the long way down through Germany
and then into France.” Georgina explains.
“Once you get the travel bug, it’s impossible
not to keep going. I think travel gives you a
different perspective of the world, it opens
your eyes to things. I definitely prefer to travel
rather than a holiday - I’m not very good at
sitting still!”
Are you a Brighton-based host already, or are
you new to home sharing and interested in
hosting in Brighton? We’d love to hear from you
so give us a call on 01273 257541 or visit our
website at https://airsorted.uk/brighton
VISIT AIRSORTED.COM/BRIGHTON FOR MORE DETAILS.
JJ WALLER
...............................
The theme of ‘rock, paper, scissors’ stumped JJ Waller, until we asked him to think
about images of makers and creatives. Then he instantly recalled a portrait he had
made of the infamous, iconoclastic clown Chris Lynam. “For over forty years, Chris
has consistently risen to the challenge of creating pioneering and surreal comic
inventions. Comedians are craftspeople too.” He could certainly do with some safety
specs (and a pair of asbestos underpants).
....23....
Share the Roads,
Brighton & Hove
focus
LOOK
LISTEN
42% of collisions in Brighton & Hove
occurred because people were
not looking properly
6241_road_safety_A4.indd 1 14/09/2017 15:08
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BITS AND BOGS
...............................
MAGAZINE OF THE MONTH: FATHERS
Part of the journey when becoming
a parent is discovering
the seemingly infinite number
of skills that are required to
raise a child. You’re expected
to be a mediator, a protector,
an entertainer, a multi-tasker…
There are bound to be moments
when it all feels too much,
and seeing representations of
polished kids with seemingly
perfect lives can feel demotivating
and far from reach. Social
media influencers have only
compounded the problem: proud parents carefully
curate profiles to show the photogenic side of
childhood, with the scuffed shoes, paint-stained
fingernails and blemished skin all kept out of sight.
Fathers is a magazine that doesn’t seek to present
the perfect parent, but rather to show the precious,
genuine moments of life with your child. With
dads today far more involved in parenting than
previous generations, the approach to mentoring
from a paternal point of view is a refreshing
change for those looking for guidance.
Although being a guardian is
a natural instinct to an extent,
navigating the hurdles of
parenthood is never straightforward.
The journey requires
skills to be developed and
improved with careful reflection
and understanding. Fathers
shares not only the values a
dad may teach, but also the
lessons they have learnt from
their children along the way.
We learn that the presence of
children doesn’t diminish the
opportunity to indulge in your own hobbies and
goals but deepens them. There are stories of how
sharing passions with children, learning together
and having joint experiences can develop an
unbreakable bond.
There are times that you might need all your
available resources simultaneously to deal with
the challenges that parenting will throw your way.
Fathers beautifully demonstrates the methods some
choose to handle the complexities.
Elise Ilett, MagazineBrighton
TOILET GRAFFITO #44
We’ve spotted a few of these pie-eyed octopi
around the city, but our advice is never to go toe to
toe with one. Instead, we find that most things can
be settled with a few rounds of rock, paper, scissors.
But where is it?
Last month’s answer: Fortune of War
....25....
'Fantastic place, full of beautiful magazines. I just love this shop.’
the world of great indie mags is here in Brighton.
22 Trafalgar Street
magazinebrighton.com
@magbrighton
magazinebrighton
BITS AND BOOKS
...............................
NARCISSISM FOR BEGINNERS
BY MARTINE Mc DONAGH
There are certain books that stay
with us, never to be displaced by
the great works we might go on
to read. I’m thinking of tomes
like the Beano annuals I pored
over as a child, The Scout Handbook,
Richard Allen’s Skinhead.
One book I often think about as
I mooch around the North Laine
is Alternative London, compiled
by Nicholas Saunders, and first
published in the early 70s.
This was my introduction to
hippydom. I tracked down a copy
a few years ago, and it was like stepping into a different
world. Headshops, where to find somewhere
to practise yoga, Eastern religions, and who to seek
out to follow them. Actually, come to think of it,
not so different from the North Laine after all.
Narcissism for Beginners explores an aspect of this
alternative world we’ve all come to set beside
footage of naked hippies frolicking in the mud
at Woodstock: namely, the manipulation of the
credulous by the unscrupulous. The novel tells the
story of Sonny Anderson and takes the form of a
letter to the mother he barely remembers. This is
because when he was five his father kidnapped him
from his home in Scotland and took him to live on
a commune in Brazil.
McDonagh voices Sonny in the first person, and
this is what gives the novel its great charm and
humour. Sonny has been raised since he was eleven
in Southern California by his guardian, Thomas,
and is as fluent in Valley Speak as he is knowledgeable
about his favourite movie, Shaun of the Dead.
Sonny has his quirks: he doesn’t like the sound of
people chewing, kissing, or lying
to him and themselves. And he
doesn’t think much of his father.
This is because on his twenty-first
birthday Sonny makes the first
of several journeys. The first is
to ‘Trustafaria’, when Thomas
informs him that he is now the
beneficiary of the Estate Agelaste-
Bim. Sonny is a multi-millionaire.
His guardian then suggests he
goes over to the UK and traces
those Shaun of the Dead locations
he’s always wanted to see.
Thomas also gives Sonny the names and addresses
of people he should look up, and a series of letters
Thomas has written himself.
And so Sonny goes to London, Torquay, Brighton,
Scotland and the Lake District, as he pieces together
the story of his parents, and his upbringing.
His father was ‘Guru Bim’, leader of a cult, a
manipulative charlatan who damaged more people
than he ever enlightened.
This clever blending of the novel’s oldest epistolary
form with contemporary cultural references,
and its treatment of the Larkinesque theme of
parents and what they can do to us, is brilliantly
handled. The novel made me think of a very
different narrator, Kenneth Toomey, the voice
in Anthony Burgess’s Earthly Powers. In the end,
Sonny transcends family, to disprove Larkin’s
assertion, and leave the door open for a sequel. I
for one can’t wait to meet Sonny again.
John O’Donoghue
Narcissism for Beginners, Martine McDonagh,
Unbound, £8.99
....27....
Photo by Rebecca Cunningham
....28....
INTERVIEW
..........................................
MYbrighton: John Varah
Artistic Director, Same Sky
Are you local? I’m originally from London. I
lived in Devon for about four years, which was
lovely but a bit remote, and then I ended up living
in Spain for seven months. When I was thinking
about where to come back to in England, I
thought, well, I’ll go to Brighton.
What do you do? I’m the Artistic Director of the
community arts charity Same Sky. It was started
in ’87 after the murder of the two girls in Wild
Park. The council went up to Moulsecoomb
and realised it was more run down than they
thought. They realised there were problems on
the estate and they put some resources towards
an intervention or a community engagement
project. Obviously, the murderers have never been
found, and after a while the remit became more
Brighton-wide, particularly on the estates. I got
involved in ’92 as a freelancer and then in 2001 I
went for the interview as Artistic Director. I was
part of the team who started the Phoenix over the
road, so I obviously had skills in finding money.
The trouble in Brighton is there’s often no money
for anyone to do things, because it appears on the
surface to be well-supported.
Which events does Same Sky put on? The main
ones we do in Brighton now are the Children’s
Parade and Burning the Clocks, and we do about
28 other events in the region. We took over the
Children’s Parade, which had been running for
two years in the Pavilion Gardens, and we’ve done
26 of those. In about ’97 we started Burning the
Clocks and that’s now totally self-funded. We raise
money through crowdfunding, from donations on
the night, and from local organisations like Chilli
Pickle and ARKA supporting us.
What do you like most about Brighton? The
diversity of ideas. It’s not as culturally diverse as
some of the places we work, but there are hightech
people and low-tech people and they all
tolerate each other, generally speaking. There’s
a great willingness to network with people from
different creative backgrounds, and there are
a lot of interesting, quirky, give-it-a-go things
happening.
What would you change about it? I think the
problem is that everything’s now becoming more
homogenised by the drive to build more housing.
Obviously it’s necessary to have places for people
to live, but it means that over the years, lots of
little places have been disappearing. We’re going
to have to leave our premises soon because the
building is being sold by the council. We’ve been
hiding in here for 30 years hoping no one would
notice, and there are about 20 illustrators working
upstairs, because it’s stayed so cheap while the rest
of Brighton has become so expensive. Everyone
wants to come to Brighton because interesting
things happen here, but if everyone’s gone that
makes those things happen, what will be left? I
guess my worry is that it will end up becoming a
victim of its own success.
Where would you live if you didn’t live here?
We’ve been toying with living in the country
but we’re not too sure… We’ve been wondering
about experimenting with it – going and living for
three months out near Ditchling or Barcombe.
Otherwise probably somewhere like Wales. I’m
sixty next year, so I probably haven’t got that
many changes left in me. And we’ve got kids, and
they’re starting to have kids, and that pulls you
more in to being nearer. Rebecca Cunningham
samesky.co.uk
....29....
BRIGHTON
PHOTOGRAPHY
You won’t find the best views of Brighton
and the Downs at the top of the i360.
You’ll find them at the
gallery next door.
Prints | Books | Cards
brightonphotography.com | 52-53 Kings Road Arches | 01273 227 523
BrightonPhotography-VIVA2018-1.indd 1 18/06/2018 11:38
PHOTOGRAPHY
....................................
James Winspear
Makers’ spaces
This series began when I
photographed the artists
at Limehouse Arts and
Carpenter Road Studios
for my degree show at
London College of Printing.
I started by making portraits
of them in their studios,
but then I’d take the person
out and just photograph
the interior, trying to get a
sense of the person in their
space without them being
there. I’ve always found that
fascinating.
Painters’ floors can be
very interesting. Pretty
knackered, with splashes
of paint and marks; almost like a still life within
themselves. Like Sophie Abbott’s studio at Phoenix
Brighton. Her space had a crazy floor. Colourful like
her paintings. At first, I shot it on black and white
film but then thought, ‘why would I do that when
there are all those shades of blue?’
It would be interesting to make a whole series of
photos of artists’ floors. You can have four painters
working in a studio, but their individual spaces will
be quite different. They’ll all have little personal
things on the wall: a snapshot, stuff they’ve clipped
out of magazines for inspiration and various objects
they’ve brought in to personalise the space. I like to
capture these little biographical details.
I find my subjects by word of mouth and by
visiting open studios. I’m usually attracted to the
artwork but sometimes equally by the space itself.
Most of this series has been shot at Phoenix Brighton
and at Cockpit Arts in Deptford and Holborn, but
I’ve also been visiting people at their home studios.
I enjoy photographing the making process, and
I’m interested in how
other people work and
the objects and tools that
they use. So much work
goes into the pieces
they produce. That was
especially true at my
most recent shoot with
Annemarie O’Sullivan,
a basketmaker in Isfield.
And Harry Owen,
who is a leatherworker
making amazing bags
for men. The amount
of work that goes into
them is extraordinary:
just working a little
piece of leather,
burnishing it, painting the edge and then repeating
the process. Each tiny piece takes so much time.
I left college with a portfolio of black and white
street photography naïvely thinking I would be
the next member of Magnum. I was a bit green. I
had a little Roliflex camera, a reflector and a tripod,
and started shooting some interiors and editorial
portraits for magazines like the Guardian Weekend,
Blueprint, Elle and Elle Decoration. I use a bit more kit
now and have been photographing food and chefs for
Deliveroo for the last year, but it’s been nice to keep
up the artists and makers as a personal project.
I’d love to photograph someone making their
product from start to finish. That would be a
great commission. I’d like to find a glassmaker, a
shoemaker… all those lovely wooden lasts. Any
Sussex crafts people working in interesting spaces,
drop me a line.
As told to Lizzie Lower
jameswinspearphotography.co.uk
instagram.com/jameswinspearphoto
....31....
PHOTOGRAPHY
....................................
Artist - Allan Ramsay
....32....
PHOTOGRAPHY
....................................
Maker - Grain & Knot
Photos © James Winspear
....33....
PHOTOGRAPHY
....................................
Maker - Marmor Paperie
....34....
PHOTOGRAPHY
....................................
Artist - Sophie Abbott
Photos © James Winspear
....35....
PHOTOGRAPHY
....................................
Leatherworker - Harry Owen
Basketmaker - Annemarie O’Sullivan
....36....
PHOTOGRAPHY
....................................
Letterpress printer - Theo Wang
Photos © James Winspear
....37....
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wickcandleboutique.com
Wick Candle Boutique
is Brighton + Hove’s unique
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organic bath & beauty
specialist.
Find over 50 luxury &
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with free gift wrapping.
Shop online too
120 Portland Road, Hove
01273 911151
COLUMN
...........................
Lizzie Enfield
Notes from North Village
The house is quiet and candlelit when I arrive home.
The teenage boys are sitting quietly, absorbed in a
game of Monopoly.
I’d expected to find them agitated and grumpy after
an overdose of online gaming.
“Is it ok if I have friends round for a bit of
technological carnage?” my son had asked, before I
left for a day in London.
He knows that, like all good North Village parents,
I worry about the impact of computer games, while
recognizing they are part of the social fabric of his
generation.
“Make sure you eat first,” I say. “Properly.”
As if green vegetables will protect him from screeninduced
hyperactivity.
“We will,” he replies and I can see that they have
eaten, as soon as I enter the sitting room. It’s littered
with coke cans, bottles of something blue, crisp
packets and sweet wrappers – and board games.
As well as Monopoly, Articulate is out, plus the chess
set and draughts.
“No one left to kill in Call of Duty?” I ask, raising an
eyebrow, which they won’t be able to see in the near
dark.
“Power cut,” my son replies. “There was a massive
thunderstorm and there’s no electricity now.”
“Ah!” I go to the fuse box hoping a flick of a switch or
two will restore it. But nothing.
I go into the street, hoping to find other neighbours
wondering when power will be restored, but see only
the soft glow of electric lights coming from their
homes.
It’s just our house in the dark.
I find a 24-hour electrician. I need to Pass Go to
afford his call-out charge but a credit card will do.
He arrives a couple of hours later, diagnoses dampinduced
short circuiting and says the remedy involves
extensive re-wiring.
It’s late by now and he suggests making a start in the
morning when it’s light. Will you manage without
power this evening?
It seems we will have to.
My son’s friends cannot. They’ve had enough of the
dark and board games.
They leave.
The following week feels much longer than a week.
There are so many electricians pulling up floorboards
and drilling into walls. And so little electricity.
We are reduced to a single power point and a
dangerous-looking array of extension leads. The
boiler is off limits so no hot water. The idiom “we’re
cooking on gas” gets used a lot. It’s the silver lining.
But eventually it’s sorted and everything works again.
And not long after there’s a knock at the door.
It’s one of my son’s friends, one of the candlelit
Monopoly crew; or so I think.
“We have electricity!” I say, triumphantly, as I open
the door to him. “And hot water!”
“Oh, that’s nice,” he says, looking at me nervously.
“Mum,” I hear my son coming down the brightly lit
stairs. “Jem wasn’t here last week.”
I think about telling him we’re playing Monopoly and
I have all the utility companies, but I don’t.
Illustration by Joda (@joda_art)
....39....
Lancing College
Preparatory Schools, Senior School & Sixth Form
Open Mornings
Saturday
6 October 2018
10.30am – 1pm
Lancing College
Lancing
West Sussex BN15 0RW
T 01273 465 805
E admissions@lancing.org.uk
Saturday
13 October 2018
10am – 12 noon
Lancing Prep Hove
The Droveway, Hove
East Sussex BN3 6LU
T 01273 503 452
E hove@lancing.org.uk
Saturday
13 October 2018
10am – 12 noon
Lancing Prep Worthing
Broadwater Road, Worthing
West Sussex BN14 8HU
T 01903 201 123
E worthing@lancing.org.uk
Registered Charities
Lancing College & Lancing Prep Hove 1076483. Lancing Prep Worthing 1155150
COLUMN
...........................................
John Helmer
Good times
Illustration by Chris Riddell
“When was the last time you went to something
like this?” asks our son Freddy.
“A festival?” My wife has to think about it.
“Knebworth, 1979.”
“Wow.”
For me it’s a bit more recent; Hard Rock Calling
in Hyde Park 2012, featuring Iggy and the
Stooges, which I went to with Freddy. Like Kate I
tend to avoid outdoor gigs. The music I like best
comes out of dark, dingy clubs, and in my view
should stay there. Gigs outdoors just feel wrong.
I have a vivid memory from my own gigging
days of being chased around the stage by a wasp
when supporting the Gang of Four at a festival in
Amsterdam.
Outdoor gigs, besides, heap countless indignities
and discomforts on their punters. Not that we
can complain right now: we’re cool and chilled
under a tree eating tacos and drinking mojitos.
Meanwhile, from a birdcage on top of the cocktail
van, a shaven-headed glitter-goth fights gamely to
pitch his counter-tenor voice above some inexpert
hard rock from the BIMM-stage on one flank, and
Jess Glynn’s whingey pop on the other. Freddy’s
younger sister Poppy appears with her posse and
demands cash for ice-cream. I pass a note and the
teenagers instantly dematerialise. Finally, cocktails
drained, we amble down to the main stage.
Perhaps the reason I don’t like big gigs in
general is because I’ve always been wary of
pop’s mainstream (even when I was part of that
mainstream). Chic, however, tonight’s headliners,
were always the acceptable face of disco for
whingey indie types like me. And I’ll forgive
Nile Rodgers anything - including detailing his
commercial successes on the house-high video
screens like it was some corporate CEO’s end-ofyear
results deck. For he has given us some of the
best dance music known to humanity, and here
he is now playing it live for me - here, in Preston
Park, where on normal days I would be walking a
dog, or riding a bicycle.
After an hour of disco fun I take a break to visit
the portaloos and on returning can’t find the
others. I wander, mildly panic-stricken, among
crowds of strangers as Nile Rodgers tells the story
of his recent brush with The Big C: “…And now
I’m here with you today, completely cancer-free!”
Huge cheers. Then Freddy spots me and I am
shepherded back to the fold. “I thought I’d lost
you,” I say to Kate. She gives me a look.
Two years ago we were just over the road from this
spot in the NHS Park Centre, learning a game of
rock, paper, scissors,
whose new labels
were surgery,
chemo, and
radiotherapy.
But now we’re
here together,
and also
cancer-free.
Then Nile
scrubs out the
familiar riff of
a song played
at pretty much
every wedding
disco ever, and
we are all for the
moment (quite
literally in the case
of Kate, Freddy
and me) family.
....41....
Sunday 30 th September
Wedding Fair
Malmaison Hotel, Brighton Marina
11.00am - 3.00pm
Come and meet a handpicked selection of fine quality wedding suppliers
Meet the Malmaison events team and take a private tour of this boutique styled, waterfront venue
Fantastic Exhibitors • Gifts for all the couples • Drinks on arrival
www.empiricalevents.co.uk
Tel: 01424 310580 @empiricaleventsweddingshows @empiricalevents
empirical
EVENTS
吀 爀 愀 渀 猀 昀 漀 爀 洀 礀 漀 甀 爀 栀 漀 洀 攀 眀 椀 琀 栀 漀 甀 爀 昀 椀 渀 攀 猀 琀 焀 甀 愀 氀 椀 琀 礀
匀 㨀 䌀 刀 䄀 䘀 吀 洀 愀 搀 攀 ⴀ 琀 漀 ⴀ 洀 攀 愀 猀 甀 爀 攀 椀 渀 琀 攀 爀 椀 漀 爀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀
琀 ⸀ ㈀ 㜀 アパート アパート アパート 㠀 㐀 ㈀
攀 ⸀ 挀 漀 渀 琀 愀 挀 琀 䀀 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀
眀 ⸀ 眀 眀 眀 ⸀ 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀
COLUMN
...........................
Amy Holtz
The truth is, I’m a Minnesotan
We’re listening to Radio 1
in the office. It’s a penance
for putting the young one
through consecutive days of
Radcliffe and Maconie; the
small but significant divide
between our generations. But
their news is just as grim.
‘The wasps, whose numbers
are surging because of the
prolonged heat wave, seek
out sources of sugar. This
means they’re popping
up around beer gardens
in the UK. Drinking this fermented fruit,’ The
Sussex Wildlife Trust explains, ‘often leaves them
inebriated, which in turn makes them more likely
to sting.’
The other presenter chuckles, quips about
finishing all your cider. I snort, “Surely the wasps
are not actually getting drunk. Radio 1 – so
hyperbolic.”
“There have been a lot around recently,” my
colleague says, eyeing our open windows warily.
“If a wasp has a sip of cider, is that like a human
having a pint? So three sips is a guaranteed FWI?
Flying while intoxicated? Geddit?” I hear myself
braying at my own joke and realise it’s definitely
time to get some air. The weather’s been making
us all a little unhinged.
Outside, big gusts of wind buffet detritus from
Britney’s visit to Preston Park - pink feathers,
sequins, cigarette butts - propelling me along on
my bike.
I’m watching as a seagull ferrets a mangled glow
stick out of a rose bush when something barrels
into my face. Instinctively my hand whips up,
swiping for the intruder, only it’s not the usual,
unlucky fly but something
much, much bigger, with a
stubborn meaty, shape. Then,
a tiny knife seems to be
stabbing my lip repeatedly –
jab, jab, jab and I realise... oh
shit. I’ve been got.
A wooziness slows and drags
me over to the pavement, a
wispy fog settles in my head
and – I feel gingerly for the
place where my face has blown
up, throbbing – there seems
to be a poison-laced dagger
dangling from my lip.
“Could I hab a minute wiv the doctor?”
The receptionist looks up at me from her
paperwork and then, wincing, peers intently at the
lower half of my face. In the space of five minutes,
I’ve become The Thing.
“I juss want theb to tell be by face won’t fall off.”
Tapping furiously on her keyboard, she nods once.
“I’m messaging him now.”
The doctor too, can’t hide his incredulity.
“Wasp. Drunk.” I mutter, trying to close my
mouth around the words. I might be drooling.
“Oh,” I exclaim, “not be – the wasps. Doctor, be
honest wiv be,” I say, leaning forward. “Is thiss the
most ridiculous thing you’b eber seen?”
He doesn’t answer, and as he turns to his computer
I swear his shoulders shake. “Ice, paracetamol,
antihistamines. Should go down in a few days.” He
hazards another glance, grimaces. “I’m sure that
really hurts.”
“It’s kinda sexy, though.” A friend says, a day later.
“Well, from that side.”
“It looks like I could only afford half the filler.” I
say, with a sigh as big as my lip.
....43....
Sat 15 Sep
Live at Brighton Dome
Stand up comedy featuring Rob Delaney, John Kearns,
Fern Brady, John Robins and compère Mae Martin
Sun 23 Sep
Austentatious
Sat 29 Sep
Jazz Jamaica All Stars
The Trojan Story
Wed 10 Oct
Michael Clark Company
Fri 19 Oct
TROPE: Spoken Word Night
Tue 6 Nov
Hofesh Shechter Company
Sat 17 Nov
kraftwerk re:werk
17.9 | Komedia, Brighton
Lost Horizons
27.9
Church of Annunciation, Brighton
Emilie Levienaise
-Farrouch
Resina
Shida Shahabi
13.10 | Rialto, Brighton
Halo Maud
15.10 | The Greys, Brighton
Benjamin
Lazar Davis
18.10 | The Greys, Brighton
Dawn Landes
23.10 | Komedia, Brighton
Tunng
24.10 | Green Door Store, Brighton
BC Camplight
9.11 | The Old Market, Brighton
Gruff Rhys
11.11 | Rialto, Brighton
HALEY
15.11 | Green Door Store, Brighton
TVAM
22.11| Green Door Store, Brighton
The Lucid
Dream
27 .11 | Ropetackle, Shoreham
LAU
01273 709709
brightondome.org
Michael Clark Company © Hugo Glendinning
Tickets for shows are available from your local record shop,
ticketweb.co.uk or the venue where possible.
meltingvinyl.co.uk
MUSIC
..........................
Ben Bailey rounds up the local music scene
Photo by Jarrad Seng
PASSENGER
Sun 9, Brighton Dome, 7pm, £26
Once upon a time there was a local band called Passenger who
released one album and split up without much ado. Ten years
later, a similar-sounding act, also called Passenger, are packing
out the Brighton Dome. Songwriter Mike Rosenberg took to
busking around Europe when he quit his band, but kept the
name. He toured Australia, somehow became mates with Ed
Sheeran and ended up winning an Ivor Novello Award for hit
single Let Her Go (a song, he says, which continues to be confused
with the ballad of Queen Elsa). Judging by the crowd that gathered back in June when Mike
popped up for an acoustic set on a tiny stage by TK Maxx on North Street, this will be rammed.
Photo by Todd McConnochie
LOST HORIZONS
Mon 17, Komedia, 7.30pm, £12
After 20 years on the sidelines, former Cocteau Twin bassist Simon
Raymonde was coaxed into the studio by old music biz buddy Richie
Thomas, himself a veteran of the post-punk indie scene from his days
in Dif Juz and The Jesus and Mary Chain. What started as an informal
jam session resulted in a 15-track album of lush, old-school shoegaze
featuring a dozen guest vocalists. Raymonde, who also runs indie label
Bella Union, opened a record shop in the Lanes a couple of years ago and has since recruited a crop
of Brighton talent for the band’s live shows. Originally booked for April, this rescheduled date features
support from Penelope Isles and Crayola Lectern.
STRANGE CAGES
Wed 26, Hope & Ruin, 8pm, £7/5
Though they’ve nailed the moody look of heyday-era Suede, Strange Cages’
sound owes more to the fuzzed-up mayhem of 60s psych and post-punk.
Their take on rock’n’roll also captures something of the single-mindedness
of perennially cool groups like The Stooges and The Cramps. With paranoid
vocals wedded to sludgy grooves and frenetic surf-rock riffs, the Brighton
trio deal in the sort of upbeat doom that will probably appeal to fans of The
Wytches or Thee Oh Sees. This Hope & Ruin show, organised by rising
local promoters Acid Box, marks the launch of their new EP, Silver Queen. The band’s live show is
something to behold, so anyone averse to the idea of a moshpit should consider themselves warned.
....45....
TASTING ROOM
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LITERATURE
.............................
AL Kennedy
‘I’m more a realist than a pessimist’
A certain reputation
precedes AL Kennedy. She
is a formidable writer, of
course, an award winner
for many of her novels
and short stories. She has
been selected three times
as a Granta Young British
Novelist. The words most
often used to describe her
writing are ‘bleak’ or ‘grim’.
As The Independent once
noted: “She knows grimness
the way some novelists
know music or food.” In occasional interviews
(apparently she is not a fan of journalists) she
comes across as intense; serious; terse.
Our email exchange doesn’t exactly contradict
this picture. But the Scottish author seems a little
weary of this caricature. “Reviewers read reviews,
so initial judgments will repeat,” she writes in
response to a question about the darkness of her
material. I can almost hear her sigh. “I’ve been
asked that question for around 30 years now, for
example. Generally readers report the work as
funny and/or moving, which I’m happy about. I’m
more a realist than a pessimist.”
Similarly, she brushes away the idea she is
especially interested in writing about people whose
lives have been overlooked - characters such as
the troubled WW1 airman Alfred Day in her
2007 Costa Book Award-winning Day. “I’m drawn
to people. Most people have lives like that.” She
wishes interviewers would ask her instead about
topics such as “voice, joy, and passion”. “I almost
never get asked about them,” she comments,
bringing to mind a Goth sad not to have been
invited to a barbecue.
But it must be annoying to be painted as an
arch-miserablist when
one’s work is as complex
as Kennedy’s. In a recent
interview with The
Guardian she described
London, which she
recently made her home,
as being ‘not so much
a city as an investment
opportunity’. But she also
talked about the many
touching incidents she had
witnessed between people
there, and had woven into
her latest novel, Serious Sweet.
Then there is her apparently unlikely sideline in
stand-up comedy, a genre she sees as ‘just another
form of storytelling’. “You can talk about today’s
news to today’s people, not write something and
see it in a book two years later. And if it bombed,
that’s gone and if it was great, that’s gone. You
move on.” Writers and comics have more in
common than it may seem, she adds. “Generally
there’s more vulnerability amongst comics and
very good conversations about books, simply based
on love. But the worlds are not dissimilar.”
We move on to her forthcoming appearance at an
event celebrating 20 years of Mslexia magazine at
Charleston’s Small Wonder short story festival.
She’s as surprised as I am by the mention of
‘women writers’ in the event blurb. Perhaps,
she suggests, it’s because Mslexia was set up to
promote writing by women. Either that or it’s ‘the
Edwardian air down at Charleston.’ I’m only a
little bit surprised to see the comment followed by
a smiling emoji. Nione Meakin
The Literary Monologue: Celebrating 20 Years of
Mslexia, 28th September, part of Charleston’s Small
Wonder short story festival, 28th-30th September.
Photo by Donna Lisa Healey
....47....
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FILM
.............................
W0FFF
Women Over Fifty Film Festival
Director Nuala
O’Sullivan founded
the Women Over
Fifty Film Festival
(WOFFF) in
response to the
evident lack of roles
for older women in
front of and behind
the camera.
“What I find, as a
woman who has
gone through the menopause,” Nuala tells me, “is
being over fifty can be an incredibly positive and
creative time. Talking to women in their fifties
and beyond, it’s kind of like they have a whole
new lease of life. I think the quality and quantity
of work we see submitted to WOFFF really
reflects that.”
Sadly, the need for events like WOFFF is clear,
because this work just isn’t often seen. Of the few
women who direct feature films an even smaller
percentage create a second, and numerous barriers
prevent gender equality, including motherhood
and other caring responsibilities, as Nuala
explains. “We’re also talking about ageism and
sexism… the ‘glamour’ and ‘beauty’ of the movie
industry. All of these things mitigate quite badly
against older women. As a writer and producer, I
wanted to take something that was quite negative
and make it into something positive, something
community-focused and fun.”
WOFFF started four years ago, says Nuala, “at a
wee community hall in Seven Dials”. This year it
is a four-day festival. The event will encompass
screenings of two features and over fifty short
films, workshops, networking events, talks, panel
discussion and an awards ceremony.
“Equality in film is something everybody has to
push at,” says Nuala.
“I think movements
like #metoo and
#whatsnext have
made a massive impact
in terms of how
people are making
work; what film
crews are looking
like; what behaviour
is like on set, and
what kind of stories
we’re seeing on screen. It’s made audiences and
filmmakers aware of, and crave, other stories - not
only those of cis, white, straight, young men.
“The thing I can do, in my way, is to celebrate
older women. Organisations like Raising Films,
Directors UK and Women in Film & TV are all
looking at it from different angles and I think
that’s the way to go. Audiences are really important
- they have the power. What films do they go
and see, particularly on opening weekends?”
The premise of everything shown at WOFFF
is that there must be a woman over fifty really
driving the action on screen or as part of the core
creative team. “What this means,” says Nuala, “is
we’re a really inclusive festival – a documentary
by a 16-year-old boy about his 53-year-old grandmother
would be welcome at WOFFF.
“I think women in their fifties and beyond are
experienced and complex and layered and angry
and exciting and sexy, so the binding theme of the
festival, if there is one, is that the stories are good.
It’s about weaving all of their experience and their
life and their love into the work that they do…
The breadth of work that’s submitted is quite
amazing.” Chloë King
20th-23rd Sept at Duke of York’s Cinema and
Lewes Depot. wofff.co.uk
Photo of Nuala O’Sullivan by Daniel D Reimer
....49....
MUSIC
.............................
KitFest
Together through tragedy
An incredible line-up of
Brighton performers, including
Fujiya & Miyagi and
Alice Russell, are coming together
this month, alongside
compère David Shrigley, for
a unique fundraising concert
inspired by a local family
tragedy.
James de Malplaquet is
organising the event after he
and his wife Sarah lost their
newborn baby, Kit, last year
to a little-understood viral infection. In the wake
of this devastating experience James and Sarah
decided to set up a charity to raise awareness
about the condition, neonatal herpes, which
took the life of their child.
“It’s not easy to explain what it’s like to lose a
baby in such circumstances,” explains James.
“Pretty much everything falls apart. I decided
we should get away for a bit to try to recover a
little, and while we travelled there were many
sleepless nights. During one of them, Sarah
realised that she was in a unique position to
make a difference.”
The Kit Tarka Foundation (KTF) was formed
in January this year, with Sarah at the helm. The
foundation’s aim is to prevent the death of newborn
babies through research and education.
“Neither of us have a medical background,” says
James, “so it has been a steep learning curve
getting our heads around what happened to Kit
– especially considering the lack of information
and research out there. Sarah persuaded me that
we have a moral obligation to try to prevent this
happening to other parents. It’s not often that
you can honestly say that you can save lives, but
we are certain KTF will.”
James, who used to front
Brighton band The Miserable
Rich, realised he was able
to make a contribution by
calling in some favours from
old friends. He’s now rounded
up an impressive roster of
local acts for a special oneoff
concert that’s come to be
known as KitFest.
“I know a lot of musicians
from gigs, bands, shared
friends and parties. When we started plans for
fundraising events this seemed like the obvious
thing for me to do. Brighton’s top motorik band
Fujiya & Miyagi and soul queen Alice Russell –
the latter rolling back the years in an intimate
acoustic set with TM Juke – have both kindly
agreed to play for free, as have Gloria Cycles (in
their first gig for eight years), 40-piece female
pop choir We Bop and songstress Jess Bishop.
My own band, The Miserable Rich, will also be
getting back together for what is likely to be a
highly emotional set.
“Obviously, it’s a tragedy that’s bringing us
together. I think it will be a difficult weekend
for us – but we have had such a difficult year,
that’s really the new norm. KitFest will raise
further funds for research and education – as
well as marking what should have been the first
birthday weekend of our son. However, we are
trying to avert future tragedies and that is a very
positive thing, so we are determined to make a
positive, even joyful, day out of it.” Ben Bailey
St George’s Church, Sat 15th Sept, 4.30pm, £18
Tickets from kittarkafoundation.org/kitfest or
from Resident records and The Hand In Hand.
....50....
MUSIC
....................................
Thomas Dunford
The lutenist and the Lapwing
At the age of fifteen,
Thomas Dunford was
performing on stage at
the Comédie Française
theatre in Paris. The
Spectator described him
as ‘a teenage rock star
of the lute’, while BBC
Music Magazine made
favourable comparisons
with guitarist
Eric Clapton. So what
brings this internationally acclaimed musician to
the 60-seat Lapwing Festival at the Coastguard
Cottages at Cuckmere Haven on Sunday 2nd
September? “When people are friendly and the
place is beautiful, it’s as good for me as being in
Carnegie Hall,” Thomas tells me.
The lute is often seen as a medieval instrument,
although its origins can be traced back much
further. However, you’re unlikely to hear a
truly original lute being played. “It’s one of the
most fragile instruments that exists because it’s
extremely thin,” admits Thomas. “Most instruments
that are from the time have to be restored;
they don’t age like violins. After 30 years, the
soundboard gets a little tired.”
As well as having a long history, the lute is also
more broadly defined than most modern instruments,
with the number of ‘courses’ (strings)
varying depending on the musical style and the
manufacturer’s preference. “The ‘lute’ could mean
a six-course lute or a seven-course lute, theorbo or
chitarrone [types of long-necked bass lute]… there
are maybe a hundred different ways of playing and
making the instrument,” explains Thomas.
Innovative interpretation is something he has
embraced. He’s recently formed ‘Jupiter’, a
group of musicians
who “play baroque
music with my own
convictions, which are
that this music should
be not conducted but
everybody has to be the
composer together.”
This is how he believes
the music was originally
performed. “I
think the way baroque
musicians would work was closer to what we do
now with jazz music, where they improvise a lot.
Bach himself was known more as an improviser
than as a composer in his time. In order for us
to play music by extraordinary improvisers, we
have to know what it is like to create music out of
nothing because that is what they were doing all
the time in the baroque world.
“The lute is one of the most subtle instruments
that I know. There are so many possibilities of
tone colours – and it’s an instrument that asks
for silence. You play one note; there’s a lot of
resonance… and the resonance is always dying
out. So it’s an instrument that always invites the
silence into variety.”
Earlier this year Thomas released a CD of music
by JS Bach, including some pieces that were
originally written for other instruments. “When
he writes, you feel that he’s not thinking of any
technical means, he’s thinking in pure musical
form,” he says. “That’s why Bach works on any
instrument. It’s the hardest and also some of the
most beautiful music.” Mark Bridge
The Lapwing Festival runs from August 31st until
September 2nd at Cuckmere Haven.
lapwingfestival.com
Photo by Julien Benhamou
....51....
TALK
.............................
Augusto Corrieri
The magic of theatres
What does a magician write
about when he writes about
the theatre?
If you went to Edinburgh in
August you might have seen
Vincent Gambini performing
a post-modern conjuring
show at the Underbelly.
Gambini’s real name is
Augusto Corrieri, he’s a
lecturer at the University
of Sussex, and he’s doing a
performance at ACCA this
month based on his book In
Place of a Show, which asks
the question: ‘what happens
in theatres when nothing is
happening’.
“Fact or fiction?” I ask him, down the phone,
having spent a couple of days with the book, in
which Corrieri examines four different theatres
which, in one way or another, aren’t what they
used to be.
“It’s kind of activated imagination,” he tells me,
citing the first of four buildings he examines, the
Munich Cuvilliés-Theater, whose rococo interior
was taken away during the war to save it from the
Allied bombing raids which later destroyed the
rest of the building. Then, in a kind of reverse
‘now you see it now you don’t’ it was rebuilt as
an exact replica in the same spot in 1951.
Or so Corrieri tells us in the first chapter. In the
second, he reveals this “idea of the theatre that
refused to go away” to be a popular misconception,
spread by propagandists. It was actually restructured
in a different space: a modern theatre
had by then been built where it used to stand. A
sleight of hand, then.
Corrieri then leads us a merrily
erudite dance round three
other theatres. First it’s the
Dalston Theatre, torn down
before he moved to the area in
2007, where he sat for hours a
day looking at the space where
the stage used to be (by then a
Starbucks). Next up the Teatro
Olimpico in Vicenza, built
four hundred-odd years ago by
Palladio, hardly used since, and
inhabited by a sole swallow.
And, finally, the Manaus Opera
House, built in the rainforest
during the brief Brazilian
rubber boom, and since, he’s
told by a tour guide, used as a
football pitch, and a car showroom. Or was it?
Along this twisting way he peppers us with
thoughts on the theatre by the likes of Calvino
and Kafka, Borges and Barthes, while increasingly
bringing himself into the narrative. But does
he tell it like it happened? “The order of things
is different and certainly the discoveries I made
along the way are entirely edited, amplified, taken
away and made to look like this one smooth
event,” he says. So that’s how the magic happens.
After a two-year hiatus, Corrieri is reprising his
show at the Attenborough Centre to coincide
with the release of a new paperback version of
the book. He held the launch of the hardback in
the same space two years ago, though he didn’t
attend it. Neither did anyone else, for that matter:
the theatre was closed down for an hour and
invitees were asked to stay where they were and
imagine being at the party. Alex Leith
ACCA, 27th September, 7pm, £5/3
....53....
Sparkling arts events in the heart of Shoreham-by-Sea
THE KING IS BACK
Sat 1 Sep
PAW PATROL LIVE!
Sat 8 & Sun 9 Sep
CHAMPIONS LEAGUE
OF DARTS
Sat 22 & Sun 23 Sep
JACK WHITE
Tue 16 Oct
box office 0844 847 1515 *
www.brightoncentre.co.uk
*calls cost 7p per minute plus your phone
company’s access charge
TREASON PRODUCTIONS
BRIGHTON’S RECORD BREAKING SMASH HIT SATIRICAL COMEDY SHOW
THE TREAS N SHOW
“Brighton is rightly very proud of this company” The Argus
They’re Not There For You
BOX OFFICE: 01273 464 440
LITTLE HIGH STREET, SHOREHAM-BY-SEA, BN43 5EG
The Argus Chortle.com
“Savagely funny-fantastically silly” THE GUARDIAN
Fri 14 & Sat 15 September
8.30pm (doors 7pm)
The Latest
Tickets from £10.00 -£16.00
add £10 for fish & chips meal DeaL
Book online www.treasonshow.co.uk
Table reservations now available for advance booking
MUSIC
....................................
José González
and The String Theory orchestra
José González, the Swedish-Argentinian guitarist
and singer who most people discovered
through his 2006 cover of Heartbeats, comes
to Brighton this month backed by The String
Theory orchestra for a radical overhaul of his
usually minimalist music.
What is The String Theory? It’s a 22-piece
orchestra that started off in Berlin as a collaboration
between a collective of musicians and
arrangers. When one of them moved to Sweden
they decided to do the same sort of experimental
collaborations, but in Gothenburg. And I was
one of the invited artists. We did one song and I
liked it a lot, so I asked them to do more and we
ended up touring Europe and the States. Now
we’re back on tour again, this time hopefully
with a live album coming out.
What kind of stuff will you be playing? The
songs are all mine and most of them are pretty
old, but the arrangements are quite creative
and varied. They range from very classical and
harmonic, to a bit more soundscape-orientated.
We have string, brass and woodwind sections,
and we decided to add some electric guitar
with effects, to get a more Spiritualized type of
feeling. It’s still my voice, and I’m not singing in
different ways, but a couple of the arrangements
are a bit more out there.
Were you surprised by any of the arrangements
they came up with? Most of them,
actually. It’s worth mentioning Every Age, which
is very simple on the recording with my guitar.
It’s one of the most simple songs, but in the
orchestral version there’s a pretty long intro
that’s very melancholic. It reminds me of the
composer Arvo Pärt in its simplicity with all the
strings, and then it ends with a very bombastic
and larger-than-life type of feeling.
Do you still enjoy touring? It’s great, but I
definitely overdid it in the past. There’s a sense
of not knowing if this will last forever, so it’s like
riding the wave while it’s still there. I can sort
of understand why I did what I did, but looking
back I think I toured way more than I needed
to. It’s all good in a way, I can sit back and know
that lots of people heard me, maybe ten years
ago, and maybe they want a nostalgic moment. I
think I reached a lot of people with touring.
How have the new arrangements gone down
with your fans? Judging from the audiences
when we tour with the orchestra, the reactions
are pretty positive. There’s something about
hearing these songs in fleshed out versions with
so many acoustic instruments. It adds another
layer to the whole thing and hopefully this will
make the songs last longer, in a way. I wouldn’t
mind growing old by doing these sorts of concerts.
As told to Ben Bailey
Brighton Dome, Fri 21st Sept, 7.30pm,
£31.50/26.50
Photo by Malin Johansson
....55....
LAURIE ANDERSON
& HSIN-CHIEN HUANG
CHALKROOM
4 – 25 OCTOBER
MAX COOPER: AETHER
4 – 6 OCTOBER
SUZANNE CIANI &
MARTIN MESSIER
8 OCTOBER
GAIKA &
GAZELLE TWIN
11 OCTOBER
JAMES HOLDEN &
THE ANIMAL SPIRITS
12 OCTOBER
01273 678 822
attenboroughcentre.com
University of Sussex, Gardner Centre Road, Brighton BN1 9RA
BRIGHTON
DIGITAL
FESTIVAL
2018
EVENTS
DJ YODA
Saturday 1 September
CORINNE BAILEY RAE
Friday 7 September
PARK(ING) DAY
Friday 21 September
THE ROBERT CRAY BAND
Monday 15 October
THE FEELING
Thursday 18 October
EXHIBITION
LUCY BEECH
REPRODUCTION EXILE
Saturday 15 September
CHARITY NUMBER: 1065586
1574.3 DLWP Viva Lewes ad Sept 28x94mm.indd 1 13/08/2018 16:41
DANCE
....................
SKIN
Difficult stories through dance
‘Hip-hop is a fantastic medium to tell stories
that might otherwise go unheard.’ Brighton-based
choreographer Andrea Walker on
why his company 201 Dance is highlighting
transgender experience in its latest work.
Why did you want to make a show about
gender transition? Trans identity and trans
experience are still very underrepresented in
popular culture. The mix of urban movement
and storytelling in our previous show Smother
attracted an audience who wouldn’t normally be
exposed to such stories, so we thought it’d be
exciting to continue on that path with SKIN.
How was your own understanding of gender
shaped? I grew up in Italy, which, even today,
isn’t the most progressive of places. When
I was 16 I spent a year in the United States
studying dance and film at the Metropolitan
Arts Institute in Phoenix, Arizona. It was there
- surrounded by some incredible people - that
I understood how varied the gender spectrum
really is.
What were the challenges of tackling such a
complex topic via dance? It was hard to keep
the story clear and powerful without sacrificing
any of the important messages we wanted to
portray. We worked hard with dramaturg Kit
Redstone to find the right balance. The final
result is an emotional story of family, identity
and belonging.
Why hip-hop? There are countless members
of the LGBTQ+ community who are hip-hop
dancers, yet LGBTQ+ stories are not usually
presented on stage through this style of dance.
Hip-hop is a style that audiences associate with
entertaining, powerful and accessible movement.
I think it’s a fantastic medium to tell
Photo by Christopher Nash
stories that otherwise might go unheard.
What did you want from the dancers? I like
dancers who can take on my choreography but
also add their own personal flair. The show
is very physically demanding, so the dancers
need to have a lot of stamina and explosive
power, whilst also being emotionally engaged
with the material.
One of the dancers portrays the protagonist
as a female child; how did you explain the
character’s struggle to a dancer that age?
We were surprised to find all the children we
worked with to be incredibly ‘woke’! Our producer
and associate director Patrick Collier was
fantastic in talking them through the struggles
our main character faced and what their place
in the show represented.
The stated aim of your company is to
confront controversial issues and challenge
social prejudices; do you feel you have
achieved this? More can always be done! With
both Smother and SKIN we aimed to tell difficult
stories through a medium that wouldn’t
normally tackle such experiences. With our UK
tour of SKIN we hope to reach more people
than we’ve ever done before.
Why did you make Brighton your home?
I’ve always been open about my struggles with
anxiety, and Brighton’s air and seaside has had
a great impact on that. It’s also been incredible
for my work. It’s a place filled with artists and
creativity, all of which really help me keep
inspired. Nione Meakin
SKIN, The Old Market, 7th September
....57....
FAMILY
.............................
Kids’ theatre workshops
What’s the fly floor for?
Aspiring young
stage managers
and set designers
have the opportunity
to gain some
backstage experience
at Brighton’s
oldest theatre. The
Theatre Workshop
course is a nineweek
programme in
which kids aged ten to twelve get to try their
hand at devising and writing a theatre piece,
designing their own sets and learning what the
‘fly floor’ is all about.
“The course is for children and young people
to find their creativity and be in a building
which inspires them,” explains Jackie Alexander,
Creative Learning Manager at Theatre Royal
Brighton, “whether they just want to find out
more about the theatre, or whether it might be
something they want to pursue in the future.”
The course is very much “led by the children
and their individual interests,” Jackie says. “If
one of the participants is particularly interested
in writing, we’ll nurture that part; if one of
them is especially technical, there are opportunities
for them to have a session with our
crew where they can find out how the light and
sound work, and go up to the fly floor.” The
fly floor is a platform to the side of the stage,
from which equipment and set parts are raised
and lowered, manually, by rope. “I think we’re
one of only two ‘hemp houses’ left,” Jackie says.
“Most theatres now are able to bring things in
and out by pressing a button, but ours is all done
on rope, with people pulling them in and out.
It’s great when the kids go up there and have a
go - it’s a very unusual experience for them.”
Jackie has herself
had a varied career
in theatre, since
leaving school: “I
started in my home
theatre, Wimbledon,
working
backstage, doing
dressing and general
stage crew. Then
I moved into box
office, and I worked in children’s theatre, and
I’ve been a producer… Everybody here has had
a very different route into theatre, so when I
meet young people who are interested in working
in this business, I always encourage them to
find some front of house work or get in there
somehow, and then show their willingness and
interest in learning.”
Introducing young people to the many ways in
which they could pursue a career in theatre is
one of the major parts of Jackie’s role. “Because
how would you know, otherwise? If you don’t
know anybody who works in theatre, you
wouldn’t have a clue how to get into it. It still
is one of those businesses that really helps if
you’ve got some sort of inroad. Coming here
to do a workshop when you’re a kid means that
you haven’t got that fear - you know what a
theatre looks like and you know that everybody
who works here is actually alright, they’re not
terribly posh and speaking in Shakespeare
all the time. I think that makes a really big
difference.”
Rebecca Cunningham
Theatre Workshop course: Tuesdays 18th Sept
– 20th Nov (excl 23rd & 30th Oct). Final session
Wed 28th Nov. £10 per session, book at
atgtickets.com/brighton
....59....
PHOTOGRAHY
.............................
© Émeric Lhuisset ‘L’Autre Rive’, Iraq, Turkey, Greece, Germany, France, Denmark, Syria, 2010 - 2017
Brighton Photography Biennial
A new Europe
24 billion selfies were uploaded to the internet in
2016. 24 billion.
Mass access to digital technology doesn’t mean
that great photographic art isn’t being produced,
though. Despite government attempts to return
the curriculum to a Nigel Molesworth era of ‘lat,
french, geog, hist, algy, geom’, A-level photography
has never been more popular, and this month
sees the return of the internationally renowned
Brighton Photo Biennial, with four inspiring
weeks of free exhibitions and events.
This is the 8th Biennial, and it’s organised by
Photoworks, a national development agency for
photography, based at the University of Brighton,
and supported by Arts Council England. Shoair
Mavlian, recently appointed as Director at
Photoworks after six years at the Tate Modern, is
the curator.
“The theme is ‘A New Europe’, which is such
a hot topic, and the works we’re showing will
provide a space where people can come and talk
and debate our current state of flux,” she explains.
“Donovan Wylie, who lives in Belfast, does
landscape work, and we’re showing his lighthouse
series. He’s interested in the physical barrier of
the sea between us and Europe. On a clear day, as
his work shows, you can see lighthouses in France
from the UK, so his work really conveys that sense
of being separate and yet connected.
“Emeric Lhuisset’s work is particularly interesting,
in that he’s using a 19th century technique, cyanotype.
The pictures fade when exposed to light, so if
....60....
PHOTOGRAHY
.............................
© Harley Weir, Homes, 2016
you see it on the opening day and then come back
a couple of weeks later, you’ll see them fade to
blue, which suggests the ocean and the EU flag.
“We’re also going to be looking back to the 1990s
when the opening of the Channel Tunnel physically
linked Britain to the continent for the first time.
The Cross Channel Photographic Mission was
the predecessor of Photoworks, and the idea was
that the building of the Channel Tunnel would be
documented on both sides, in France and in England.
The opening of the tunnel was huge. For the
French, as the photos from Calais show, there was
a lot of optimism, whereas here there’s always been
some scepticism.”
There’s a whole programme of tours and
workshops throughout the exhibition, at various
venues, including the chance to see what develops
when you do cyanotype work, and there are opportunities
for the resulting work to be shown in
pop-up galleries both in and outdoors.
“We have 30,000 followers on the Photoworks
Instagram page” says Shoair, “and we get a
different artist to take over each week. We find
them via Instagram, so that’s really positive; 52
new artists a year. There are so many images
circulating these days, and the way we share them
is changing. It’s a really diverse career now, with
people doing so much crossover work: personal,
artistic and commercial. I think it’s a great time to
be a photographer!” Andy Darling
Brighton Photo Biennial, 28th Sep – 28th Oct,
bpb.org.uk
....61....
ART
....................................
ART & ABOUT
In town this month...
Alex Peckham
It’s all going digital at Phoenix this month, with three Brighton
Digital Festival exhibitions running side by side. Forever is a
virtual reality artwork, by Alex Peckham, premiering at Phoenix
from the 14th-17th. Peckham, whose show Memoria was a big hit
in the same space last year, intersperses fantastic and dreamlike
elements into his own home, to create, for the goggle-wearing
public, ‘a unique and dreamlike experience’. It’s free, but booking
is recommended. CAS50, meanwhile, celebrates 50 years of the
Computer Arts Society (13th-23rd), with works by the likes of Stephen Bell, Desmond Henry, Ernest
Edmonds and Sue Gollifer. And finally, the Lumen Prize Exhibition (13th-23rd) showcases a selection of
this year’s shortlist chosen by Brighton Digital Festival director Laurence Hill.
Remember those colourful Snowdogs that appeared all over
town last year? That campaign was so successful – raising
£310,000 for Martlet’s Hospice – that the charity has come
up with another idea. It’s called Snailspace (not Snailtrail,
sadly) and instead of giant dogs, you’ll see an army of giant
snails dispersed around town, each one decorated by a
different artist, and sponsored by a different company (see
pg 21). [snailspacebrighton.co.uk / #bemoresnail]
Beverley Naidus
There’s some pretty rad
stuff going on at ONCA.
Beverley Naidus’ We
Almost Didn’t Make It
continues till the 9th; from
the 17th to the 23rd, Irene
Fubara-Manuel presents
her installation Dreams
of Desire, which is, in the
gallery’s words ‘a traversal
of the virtual border and
the racialized biometric
technologies in which
this space exists. It blurs
documentary truth and science fiction, to reveal the ubiquitous
surveillance of migrants, the violence inherent in this practice
and the desire for opacity’. Go figure.
Walking into Paradise (detail) by Luke Hannam
Finally, it’s worth popping over to
Hove - if you’re not already there -
where Cameron Contemporary
Art are showing the work of
Luke Hannam, whose colourful
canvases, inspired by Picasso and
Matisse, will bring the walls to life.
[cameroncontemporaryart.com]
....63....
ILLUSTRATION
+ PRINT FAIR
INK PAPER + PRINT PRESENTS THE 2018
© Robert Tavener with kind permission of the Emma Mason Gallery
TOWNER ART GALLERY
COLLEGE RD, EASTBOURNE BN21 4JJ
SATURDAY & SUNDAY
13 TH – 14 TH OCTOBER, 2018
FREE ADMISSION
OVER 75 EXHIBITORS OF PRINTS, BOOKS + EPHEMERA
Admission from 11am
Creative courses
Our popular creative courses for adults
provide a lively and diverse mix of high
quality workshops for beginners and art
lovers as well as aspiring and practicing
artists. Skills are taught by professional artists
in a creative and supportive environment.
phoenixbrighton.org
RELEASE YOUR CREATIVITY
One day to week long courses | Expert tutors and fully-equipped workshops
Inspiring surroundings with arts heritage and award-winning gardens
Art | Craft | Gardening | Textiles | Photography | Wood | Metalwork | Pottery | and more
www.westdean.org.uk bookingsoffice@westdean.org.uk 01243 818300
West Dean College of Arts and Conservation, Chichester, West Sussex PO18 0QZ
ART
....................................
Out of town...
Pink by Matt Smith, 2017. Wool
© Matt Smith. Courtesy Matt Smith
We’re very excited about the brand-new galleries at
Charleston (see pg 92), which will be presenting three
connected shows in their inaugural month, starting
September 8th. The main event, marking 90 years since
the publication of Virginia Woolf’s Orlando: A Biography,
presents a contemporary response to the groundbreaking
novel, whose gender-switching narrator lives
over many centuries. Orlando at the present time features
new works from: modernism-influenced figurative
artist Kaye Donachie; cross-dressing self-portraitist
Paul Kindersley; mixed-media anti-racist artist
Delaine Le Bas, and site-specific LGBT-oriented
ceramicist Matt Smith, alongside photographs and
objects pertaining to the
original publication of the
novel. This exhibition will
be accompanied by two
displays. Zanele Muholi: Faces and Phases features portraits of genderstereotype-challenging
subjects from South Africa and beyond by the
eponymous artist; Vanessa Bell and Duncan Grant’s Famous Women
Dinner Service, meanwhile, features a set of 50 china plates decorated
with portraits of illustrious females, from Cleopatra to Greta Garbo.
Exhibitions continue until the 6th of January 2019.
Oh! by Paul Kindersley, 2018. iPhone photographic print on vinyl
© Paul Kindersley. Courtesy the artist and Belmacz
The Attenborough Centre at the University of Sussex starts its
autumn programme with a free drop-in ‘pop-up shoe shop’ where
the audience is invited to listen to the audio stories of individuals
who have gone through out-of-the-ordinary experiences – from sex
workers to refugees, entitled Empathy Museum – A Mile in My Shoes
(14th-23rd, 11am-5pm); at the same venue the Brighton Digital
Festival returns with The Messy Edge, a conference discussing the
cutting-edge forces shaping our lives (28th).
Morag Myerscough,
We Make Belonging, 2017
Newhaven Fort is going along with the avant-garde feel of the month, with a one-day
festival entitled Fort Process (22nd) featuring international artists of sound art and
music, of the calibre of Rhys Chatham, Tetsuya Uneda and Ana Gutieszca (plus
many more, fortprocess.co.uk). Tracing that cutting edge back to the 60s, the work of
activist pop-art nun Corita Kent continues to be displayed at Ditchling Museum of
Art + Craft (till Oct 14th) alongside Morag Myerscough’s new work Belonging (till
Sept 30th).
....65....
ART
....................................
Further afield...
Philip Core, The Chance Meeting on an Operating Table of a Sewing
Machine and an Umbrella: Andy Warhol and Marcel Duchamp, 1978
Arts Council Collection, © the artist’s estate
Debatably, it all started with Marcel Duchamp’s
million-argument-provoking urinal in 1917: The
Everyday and Extraordinary is a touring exhibition
visiting Towner, from Sept 28th – Jan 6th 2019,
celebrating modern and contemporary artists’ use of
objets trouvés in their work. Expect pieces from the
likes of Jess Flood Paddock, Chris Plowman and
Huang Xu. Before
that, the exhibition
of the (colourful
and atmospheric)
works of Edward
Stott, ‘the poetpainter
of the
twilight’, continues
till the 16th.
Jordan Baseman, Based on Actual Events, 1995,
teeth and dental acrylic. Arts Council Collection
© the artist. Gift of Charles Saatchi 2002
Birdman (detail), 2018. Archival Digital Prints on Dibond. Dimensions
variable. Courtesy the artist and Hauser & Wirth © Mark Wallinger
Over in Hastings, Jerwood Gallery’s Mark
Wallinger show, The Human Figure in Space,
continues till October 7th, as do their displays
featuring Quentin Blake and Wilhemina Barns-
Graham; if you want to book a spell in Henry
Krokatis’ Saunakabin in the courtyard before or
after, you have till Sept 16th: a dip in the sea is
recommended afterwards.
At Pallant House, in Chichester, it’s
your last chance to see Virginia Woolf: an
exhibition inspired by her writings, an eclectic
show organised by Tate St Ives, featuring 80
women artists from Barbara Hepworth to
Eileen Agar, on till Sept 16th.
Claude Cahun, Self-portrait (as weight trainer), 1927, exhibition print from
monochrome negative, Jersey Heritage Trust © Jersey Heritage Collection
....67....
LOCAL MAKER
....................................
Susie Beech
Paper florist
Susie Beech started her paper
flower-making business A
Petal Unfolds in 2013, while
looking for a way to spend less
time in front of the screen. She
had graduated with a degree
in Fine Art Printmaking from
Brighton and was beginning a
career in digital photography,
but “I was getting restless,” she
says. “I wanted to get back to
making things with my hands,
so I started trying out different
crafts and came across paper
flower-making. I was blown
away – I’d never seen anything
like it before.” She started by
following online tutorials posted
by a blogger in America and
before long she was hooked.
“There wasn’t a huge amount
of instruction on how to make
them back then, but I found
an old booklet on paper flower
-making from the 60s and I
learnt a lot from that. Once you
pick up a few techniques, you
can start making new designs, in
your own way.”
Her main material is crêpe
paper, “because you can bend it
and shape it. It’s got a stretch to
it, so you can manipulate it really
easily to get a natural, organic
look.” The flowers are each built
around a piece of floral wire,
and the tiny stamens are the
same as those used in sugarcraft.
Everything is held together with
a few dots of Aleene’s Tacky
Glue – “legendary” among the
paper flower-making community.
“They’re stronger than they
look,” she says. “People are a
bit wary of touching them, but
you can bend them and drop
them and they’re fine – they’re
tougher than real ones.”
Over the last five years, paper
flower craft has been making
a comeback. “There are more
and more people doing it, and
it’s become more and more
realistic,” Susie says. “People
....68....
LOCAL MAKER
....................................
are really pushing the limits
of what you can achieve with
crêpe paper: the flowers can
look like real botanical pieces.”
She began to connect with
other ‘paper florists’ on Instagram
and soon their work was
picked up by the creative blog
Design*Sponge. “We started
gaining a following, and it
really took off from there.”
People have bought the flowers
for paper wedding anniversaries,
and as gifts in hospital wards
that don’t allow real flowers.
“My very first sale was to a
florist who needed daffodils, but
they were out of season,” says
Susie. Increasingly, her customers
have been people wanting to
learn the craft for themselves;
most of her time now is spent
running workshops in Brighton
and in London, in which she
teaches people how to make
their first basic flower. This
month she’s running a Paper
Wild Rose workshop at One
Girl Band in Vine Street (tickets
£50 from onegirlband.co.uk).
“The best one I’ve made recently
is a Columbine flower,” Susie
says. “They’re pretty complicated
– they’ve got this amazing tail
on the back like something from
another world. My favourites
are always the latest ones I’ve
made because they’re exciting
and new.” But the customers’
favourites? “Always peonies.
People go crazy for peonies.”
Rebecca Cunningham
apetalunfolds.com
Photos by Rebecca Cunningham
....69....
DESIGN
....................................
Little Inventors
Imagination unlimited
A family scooter. A plaster cast with integrated
electrical charge. A tennis ball that will play slow or
fast. These are just a few of literally thousands of inspiring
creations brought to life by Little Inventors.
Founded by artist and designer Dominic Wilcox
(pictured above) in 2015, Little Inventors invites
children to submit ideas - no matter how fanciful -
that they would like to ‘make real’. “The idea,” says
Dominic, “is to combine the imagination of children
with the skills and experience of adult makers.”
“As adults,” he explains, “we become very aware of -
or we think we know - what is difficult or impossible,
and so we stop our ideas earlier. We don’t allow
them to be developed.”
We learn a lot from children’s ‘unrestricted imagination’,
which opens the door to new and surprising
solutions. “There is freedom in not knowing everything,”
says Dominic.
The best inventions submitted to the website are
developed by designer-makers and professional
organisations, such as nine-year-old Andrew’s
Pulser-cast, which was prototyped by NHS Innovation
Labs. This ingenious plaster cast aims to
prevent muscle wastage by stimulating the muscles
while a bone heals. Other inventions, such as the
War Avoider, Superfast Tennis Ball and Family
Scooter have been acquired by the V&A’s permanent
collection.
Little Inventors has become something of a global
community, with workshops delivered through
....70....
DESIGN
....................................
Pulser cast invented by Andrew, age 9
partnering ‘Super Schools’, and challenges set
by organisations such as Ocado and The Great
Exhibition of the North. It’s free and easy to take
part, with resources available to download and print
at home today.
The overall aim is to inspire and nurture the problem
solvers of the future, because problem solving,
as Dominic points out, is a form of creativity that is
regularly misunderstood. “Some people think that
creativity is something that artists and designers
do, and if you’re not one of them, you’re not
creative,” he says. “That’s not true. Creativity can
be in all walks of life and all types of jobs.”
“If you’ve seen my work, it’s very much about
concepts for the future and imagined creations, not
limited by the practicalities of money or current
technology. It’s about ideas, and so we welcome the
bonkers, crazy idea as equally as the practical idea.”
This might seem to some like a road to disappointment,
but Dominic believes that out-of-the
box thinking is key to creating a positive future
for our children. “There are many problems and
challenges in the world,” he says, “and we need
more problem solvers.”
We do this by teaching kids “the skill of how to
think” - something not easily measurable by exams
or league tables, but of certain importance in our
technological age.
Dominic’s biggest tip for parents wanting to raise
Little Inventors is to offer children constant encouragement.
Negative statements like ‘you can’t do
that’ or ‘that isn’t a good drawing’ can be stifling, no
matter how valid they might seem.
“Creative thinking is dependent on self-confidence
and belief,” he says, “and you build creative confidence
by doing things.” Chloë King
Dominic takes part in the Reasons.to design and
code conference in Brighton this month (Sept 6th &
7th, reasons.to) and his book, The Little Inventors
Handbook, is on sale this October. littleinventors.org
....71....
T H E G R A N G E G A L L E R Y ,
R O T T I N G D E A N , B N 2 7 H E
1 1 - 1 6 S E P T E M B E R 2 0 1 8
1 0 . 0 0 - 1 6 . 0 0
Contemporary
British Painting and
Sculpture
We look forward to welcoming
you to our gallery in Hove.
OPENING TIMES
Mon—Sat 10.30am—5pm
Sunday/bank holidays 12pm—5pm
Closed Tuesday
For more details visit
CAMERONCONTEMPORARY.COM
THE WAY WE WORK
This month we sent Adam Bronkhorst into the workshops of five local
craftspeople, each working with a different traditional material.
We asked them: what’s your favourite tool?
adambronkhorst.com | 07879 401333
Jo Sweeting, stone carver
“My favourite tool is a bronze dummy (small mallet) which was made for me by a student.
It reminds me of John Skelton (letter carver and sculptor, and Eric Gill’s nephew)
as he had one in his studio when I met him years ago. It feels like a direct link to carving history!”
THE WAY WE WORK
Balys Morkunas, wood worker. Tree House Timber
“The most important tool is the router.”
THE WAY WE WORK
Silvia Kamodyova, ceramicist. Silvia K Ceramics
“My favourite tool is my forged steel modelling tool.
I use it for cutting, carving, mould-making and fettling cast pieces.”
PICK UP A VIVA LEWES
Cover by Lydia Crook
@ lydias_paper_shop
THE WAY WE WORK
Jennifer Wall, jeweller. Brass Monkeys
“My tree stump (pictured); one of the first things I bought when I graduated
over 20 years ago, and almost everything I make is hammered into it.”
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29 trafalgar street brighton bn1 4ed telephone 01273 606001
info@alchemyfinefoods.co.uk alchemyfinefoods.co.uk
CELEBRATE THE
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oppulent décor showcasing a rich arts history.
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Book now for 17 November - 21 December
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Tel 01243 818258 | Email christmas@westdean.org.uk
West Dean College of Arts and Conservation, West Dean, Chichester, West Sussex PO18 0QZ
FOOD
............................
Bison Beer
Craft bar snacks
When did bar snacks get so classy? I remember
when a pint at the pub was accompanied by a
packet of cheese & onion crisps and possibly a
pickled egg, but that was a long time ago. We’re
all a bit more civilised now and our taste buds
are too.
It’s fitting, then, that Brighton’s craft beer
pioneers should up the ante on the bar snacks.
Bison’s new ‘bar, kitchen and hideout’ has
recently opened in North Road, with the kitchen
part of the equation delivered by Humble Plates,
who’ve found a home for their ‘modern campfire
cooking’ in the revamped premises.
If these plates are humble, I can’t imagine
what they’d call fancy. There are 18 choices
on the menu, including duck leg croquettes
with Szechuan yoghurt; pork belly with
chorizo, black pudding, potatoes and fried egg,
and grilled fennel with orange, almonds and
lavender vinegar. The closest thing to a pickled
egg is the scotch egg with chorizo mayo.
The place has been made over in unmistakable
Bison style, too. There are traces of Dan
Walters’ distinctive Bison branding both inside
and out, with creatures from his bespoke
wallpaper escaping to the outside walls. There’s
a cosy basement lounge (the hideout, available
for private hire), curb side tables outside the
ground floor bar, and an airy upstairs.
Dan, Dale and I take a booth upstairs and
consider our options. Each dish has a suggested
pairing with one of the 14 keg beers on offer,
and there’s a food and beer tasting flight for
the indecisive. Dazzled by the choice, we go for
flame-grilled English peas in the pod; paneer,
miso and spring onions; fries with chives,
cheese and truffle oil plus the optional trio
of BeFries sauces on the side. We also order
BBQ ribs with BeerBQ sauce; a royale with
cheese; Hoisin fried cauliflower with tofu and
peanuts; gin-cured salmon tacos with avocado
and pickled cucumber, and macaroni cheese
croquettes with truffle mayo. It’s all pretty tasty
but, for my money (£4.50), the mac & cheese
morsels are the star attraction. Made with
manchego, mozzarella, gouda, two types of
cheddar and parmesan, rolled in breadcrumbs
and fried to a golden crisp, they are five-star
finger food.
Priced between £3.50-£7.50 a plate, our food
comes in at £46 between the three of us, which
is a little more than I’d usually pay for my bar
snacks. That said, we have definitely overdone
it (there’s just enough room left on our table
for drinks) and they don’t make cheese & onion
crisps with a blend of six cheeses and truffle
mayo. Yet. Lizzie Lower
103 North Road. Kitchen open 12pm-10pm
Monday to Saturday and 12pm-5pm Sundays
....79....
RECIPE
..........................................
Photo by Rebecca Cunningham
....80....
RECIPE
..........................................
Chocolate brownies
A recipe by Nick Grist and Alex Cotter, who run The Mighty Seed café
in Hanover, and a much bigger project besides…
Nick: The Mighty Seed is a social enterprise. Alex
and I have both worked on educational projects and
developed skills in different areas – she’s qualified
in permaculture design and horticulture, and I’ve
studied nutrition – so we wanted to find a project
that would combine our skills. We’ve got a plot
of organic food-growing land in Stanmer Park,
which, when we took it on, was a big stinging nettle
patch. We’ve reclaimed it and we’re in our first year
of production now. This year we’ve managed to
grow potatoes, squash, purple beans, purple peas,
beetroot, chard, fennel, sweetcorn... We’ve even
got a mini orchard at the bottom of the plot, and
a walnut tree, which we’re slowly nursing back to
health. Our plan is that in five years’ time, our café
will be supplied almost entirely by our plot. We’ve
only got a third of an acre of growing land, but
we’re looking at building some wooden structures
that would allow us to grow vertically, tripling or
quadrupling our growing space.
Over time, we’re developing an employability
programme, where we can get people who are
not in employment, education or training up to
the plot and teach them a bit about food growing
and nutrition. The ones who take to it will come
and work with us in the café in proper paid
employment. We’re starting to make connections
with other social enterprises who can train them
as chefs or baristas, or develop their skills in other
areas, so we can help to get those who have fallen
out of the system back into employment in a way
that’s supported, rather than just throwing them in
at the deep end.
Alex: This is a recipe that Nick’s been perfecting
over the last few months: a vegan, gluten-free
brownie. It uses ‘chia eggs’ as a substitute for real
eggs: these are a one to four ratio of chia seeds to
water, which you just leave to sit for ten minutes
and they make a sort of gel. That essentially binds
the other ingredients together in the same way as an
egg. You don’t get a rise with these because there’s
no flour, but if you like a gooey brownie, these are
incredible.
Ingredients (makes nine): 150g 85% dark
chocolate; 80g coconut oil; 3 chia eggs*; 125g
light brown sugar; 125g dark muscovado sugar;
100g ground almonds; 1½tsp vanilla extract; 85g
roughly chopped walnuts or hazelnuts. (*1 chia
egg = 1 dessertspoonful of chia seeds, mixed with
4 dessertspoons of water and left to soak for ten
minutes to form a gel.)
Method: Preheat the oven to 170°C. Lightly grease
a nine-inch square baking tin and place a sheet of
greaseproof paper on the bottom.
Break the chocolate into small pieces and place in a
heatproof bowl along with the coconut oil. Suspend
the bowl over a pan of gently simmering water and
melt together the chocolate and the oil.
Make up the chia eggs; leave to stand for ten
minutes, stirring halfway through.
Gradually add the sugars to the chia egg and
mix together to form a golden paste. Stir in the
chocolate mixture and the vanilla extract, then fold
in the ground almonds and the chopped nuts.
Spoon the mixture into the tin and bake for 20
minutes (for a really gooey brownie) or 25 minutes
(if you prefer the less gooey variety). You’ll know it’s
done when the surface starts to gently bubble.
Leave to cool completely and then place the tin
in the fridge for 20 minutes, before removing and
cutting into squares. As told to Rebecca Cunningham
135a Islingword Road / themightyseed.co.uk
....81....
吀 䠀 䔀 嘀 䔀 䜀 䔀 吀 䄀 刀 䤀 䄀 一 刀 䔀 匀 吀 䄀 唀 刀 䄀 一 吀
FOOD
........................
Wild Flour Pizza
Back-garden gourmet
There’s a fabulous little pizza place hiding away
in Ovingdean, but only between five and nine on
Thursday evenings. Wild Flour Pizza is a small-scale
operation run by Chris and Virginia Phillips from
their home in the village. I phone just before 8pm,
from my bike, on the Undercliff, where I’ve been
cycling with my friend Tom, and Virginia reads us
out the veggie options on speakerphone.
I like the sound of ‘The Mushroom One’
(mushrooms, mozzarella, garlic butter, rosemary,
truffle oil, parmesan) and ‘The Goats’ Cheese One’
(tomato sauce, mozzarella, goats’ cheese, roasted
peppers with a balsamic glaze). We order one of each,
plus a side of Wild Flour Slaw. “They’ll be ready at
8.25pm,” she says. Half an hour away: just enough
time to pick up some beers and cycle over to the
house.
We park our
bikes up and
follow another
couple through a side door to the garden, where the
Wild Flour family are busily prepping the pizzas.
The smell of the truffle oil when the boxes are
handed over to us is mouth-watering.
We take our pizzas across the road to a field,
complete with grazing cows. It’s quite idyllic. The
pizza crusts are bubbly and lightly blackened, and the
oil oozes out of mine. I tear off a slice of Tom’s: the
rich goats’ cheese perfectly complemented by the tart
glaze. It’s the best pizza I’ve had in ages – well worth
holding out till Thursday for. Rebecca Cunningham
Pizzas £10, slaw £4. Call 01273 950991 to order.
....82....
A-news bouche
It’s been a bumper year for Sussex wines and the
vineyards are bursting with grapes. Rathfinny
have opened their spectacular Tasting Room &
Cellar Door restaurant, where you can enjoy local,
seasonal food – book your table before they close
for a couple of weeks in October to gather in the
harvest. [rathfinnyestate.com]
If that leaves you feeling inspired,
check out the wine-making
courses at Plumpton College
(where Rathfinny’s Mark
Driver got started).
THE BLUE MAN LOUNGE BAR
www.bluemanbrighton.com
There’s workshops galore in town this month,
from a Historic Pickle Workshop at The
Regency Town House on the 7th to a pay-bydonation
Vegan Cookery Class at the Cowley
Club on the 16th. Fermented-food enthusiast
Olivia Wall, from Wild Cultures, is running two
workshops: one on the 25th at SIX on Western
Road and another on the 29th at The Snug
in Stoneham Park. You’ll learn how
to make sauerkraut, kimchi,
kefir, probiotic ginger beer
and kombucha, and leave with
everything you’ll need to carry
on fermenting at home.
[wildcultures.co.uk]
For more info and prices: 07861730925 /
kaae@flowershowpresents.co.uk
....83....
Brighton Permaculture Trust hold their annual
harvest celebration Apple Day at Stanmer
Park on Sunday 23rd, 11am to 5pm. Stop by
The Fruit Factory, a scrumping project which
processes tons of unwanted fruit from local
gardens and orchards into delicious juice and
preserves. Have a go on the
traditional press and enjoy a
glass of freshly pressed apple
juice. The event is free to
attend but parking is £10
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FEATURE
........................
Glass porcelain
Reimagining waste
“He called me one
day and said he had a
thing that was really
bothering him,” says
potter Mark Ciavola
(right in photo)
of his friend and
collaborator Doug
McMaster. “Silo is a
zero-waste restaurant
and the only things
they had to recycle
were the glass wine bottles. He asked me, ‘If we
crushed the bottles into sand, what could you
do with it?’ Obviously, glass is made from silica,
which is a major part of the recipe for clay and
glazes, so I knew there was some potential.”
Mark has been making with clay for the past 30
years and is still fascinated by the material. A
production thrower who specialises in tableware
for restaurants, he’s recently moved his studio,
Potter’s Thumb, to new premises on Grand
Parade. It’s a busy studio, with Mark keeping up
his own work and restaurant commissions whilst
renting wheel space to established potters and
teaching classes to beginners. “Making pots is my
happy place,” he says. “Working with clay has a
therapeutic effect and I just want people to get
hands on as much as possible.” In between times,
he’s been applying his 30 years of knowledge and
experience to Doug’s predicament.
“I’ve developed a process that I think is unique:
milling the glass down to a fine powder which
we can slip cast and use like a clay. The finished
material resembles a very light jade-coloured
porcelain. It has a similar texture; smooth, opaque
and really tactile.”
With Mark having cracked the process, the pair
successfully crowdfunded the means to buy a glass
milling machine,
more usually used to
render glass into sand
for the construction
industry.
“To borrow Doug’s
quote, ‘waste equals
zero imagination’. I
really believe in that.
He involves other
people, like me, to
help come up with
positive solutions. It makes you think outside of
the box.” With the mill on its way, Mark is eager
to get making tableware for Silo.
“Bringing handmade pots back into everyday use,
it’s a sort of rebellion. It reminds us that we’re
still capable of producing, of making things for
ourselves, and it reminds us that we have been
hypnotised and sedated by the ready-made,
disposable culture, where nothing is precious.
When you don’t value the work that has gone into
the making of an object, it doesn’t give you any joy
to use it.”
“It’s the same exact thing with food,” adds Doug,
joining us in the studio. “In the industrial food
system, you have the same relationship with food
that you do with an Ikea mug, because it’s not seen
as valuable. That detachment has created waste.
“Silo is 99.9% zero waste, truly. When we kick off
the glass project, and close the loop on waste glass,
we will no longer need to recycle anything.
“I think so many problems exist in the world
because people get to a certain stage and put the
blinkers on and stop being open to new ideas. As
a creative person, the most important thing is to
always keep those blinkers off and to be open to
new information.” Lizzie Lower
pottersthumb.com / silobrighton.com
....85....
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Drawings from the exhibition
A Year of Drawing
Making a mark on mental health
‘Being lost in art was a new pleasure when I never
thought I would again feel any joy.’
“I think that’s what it’s about, really,” says Joanna
Stevens, the Arts and Health Programme Leader
for Sussex Partnership NHS Foundation Trust,
which provides mental health and learning
disability services across the South of England.
The quote has come from one of the participants
of A Year of Drawing, a project run by the Trust
over the past year. “We deliver a programme of
different arts projects to mental health service
users, including adults, children and young people.
With this project we wanted to try to include as
many of them as possible. We thought, what’s very
low-tech and accessible, that could really engage
people? Drawing is pleasurable, it’s interesting, it
can be exciting, it can help you express yourself, it
can help you communicate – it encompasses all of
those different things.”
The project has been made up of many different
elements: public drawing events, pop-up art
studios within mental health settings, and creative
courses run in partnership with Sussex Recovery
College. “All of those courses were jointly
designed and delivered by a professional artist and
a peer arts worker with lived experience of mental
health challenges,” Joanna explains. “We ran
them in places like the De La Warr Pavilion and
Worthing Museum, the aim being for our service
users to go into art gallery settings, where they
might not have felt welcome before. By taking part
and going back every week, you can begin to feel,
‘this is my place’ and get that sense of ownership.”
A particularly isolated group that A Year of
Drawing aims to reach are “people in a locked
setting,” says Joanna, “for example, people in
our secure and forensic services (who might
have become involved with the criminal justice
system at a time that they were experiencing acute
difficulties with their mental health). We wanted
to be able to bring the art galleries to them, so
we’ve worked with three galleries, Towner, Cass
Sculpture and the Royal Pavilion and Museums,
to curate a collection of artworks, which we’ve had
printed as a set of postcards that people can draw
from or just look at and put on their walls.”
Altogether there have been over 700 participants
throughout the year, and three exhibitions of the
work created: one at Southampton Art Gallery,
one at the Phoenix Gallery and one at the
University of Brighton. The culmination of all
of this will be a symposium, held at the Brighton
& Sussex Medical School, in Falmer, on the 12th
September. “It’s an opportunity to bring together
all of our learning from across the year. We’ll
consider a range of drawing practices and the way
they can help us connect and communicate. We
want the symposium to be not just about talking
but also about drawing, so there will be activities
to join in with amongst the discussion.” The event
is open to the public and entry is free, but you
must register (tickets via Eventbrite).
Rebecca Cunningham
makeyourmarknhs.co.uk
....87....
LOWDOWN ON,,,
....................................
Strohacker Design School
Industry-ready education, by design
My background is in design and branding.
I started out designing Smash Hits magazine,
then worked for Richard Branson at Virgin. I
also taught on graphics and illustration courses,
whilst running my own design studio, but
there were 35 students in a group with only
2.5 hours a day to teach them.
I kept thinking there had to be a better
way, so I contacted 100 agencies in the UK
and asked them ‘what do you want from a
student?’ Not one of them said qualifications.
They said things like enthusiasm, a good
creative portfolio but a practical portfolio, and
having an interest in the subject.
I realised if I could get a small group of
students in a room for seven hours a day,
for five days a week, I could really teach
them a lot. And if I brought in high-end industry
people to devise and deliver the design
briefs, they were going to learn so much more.
I asked my industry connections to come
on board and without fail they all said yes,
because they understood the concept. Jamie
Hewlett (Tank Girl/Gorillaz) has been our
patron from the start and Glyn Dillon (Lucas
film/Disney) asked to get involved.
We teach nine modules over three months:
Advertising, Branding & identity, Apparel &
packaging, Portfolio & book design, Editorial
& magazine design, Packaging design, Website
design, UX [user experience] design, and
understanding the design business - including
how to promote yourself to the industry. Our
Apparel & packaging module was designed by
Nick Williams, who was creative lead at Levi’s
and the worldwide graphics director for Puma.
I got him to write the brief based on what he’d
want a student to show him.
There are five or six students in each
cohort and they tend to fall into three categories:
career changers, people seeking an alternative
to a degree who don’t want to spend
three years or all that money, and people who
are working in a creative role but who’ve never
been trained (I run a part-time course for people
who can’t commit to attending full time).
Magazine design by Jo Kilgour Photo by Ian Schneider
....88....
It’s an intensive thing. At the end of
the course students have a physical portfolio
that they can take to interview and
a personal website. I also offer a year of
support for their job search. Our focus
is on employability and we’ve had a 90%
success rate so far.
I ask them to read ‘The Fundamentals
of Typography’ before they start.
Other than that, there are no prerequisites.
If you complete these projects,
you’ll be equipped to get a job in design.
As long as you bring enthusiasm, an
interest in the subject and total commitment
to the course.
It costs just under £7,000 but there
are more contact hours in the three
months than there are in a year at art
college. By the time they’ve finished,
students have presented their work seven
or eight times to leading industry people,
so no one is going to scare them.
As told to Lizzie Lower by Bill Strohacker
strohackerdesignschool.co.uk
Strohacker studio Magazine design by Zak Clisby Photo of Bill Strohacker by Lizzie Lower
....89....
HISTORY
...........................................
Danny House
The 1918 Armistice, approved in Sussex
Sussex is an excellent place to
escape London, as it was 100
years ago. That’s when News
of the World owner Sir George
Riddell rented Danny House,
south of Hurstpierpoint, to allow
the Prime Minister David
Lloyd George, his wife Margaret,
his secretary and mistress
Frances Stevenson, plus the
family dog, to relax, away from
the stress of air raids.
It was meant to be a threemonth
summer stay, but
this was extended. And,
critically, between the 27th
and the 28th of September
1918, Lloyd George agreed
the terms of the Armistice there, later chairing
the unofficial War Cabinet in the Great Hall on
October 13th, which approved President Wilson’s
Fourteen Points. The Armistice, of course, was
finally declared on November 11th.
The name ‘Danny’ comes from a corruption of the
Saxon ‘Danehithe’, meaning valley and haven. It was
a hunting lodge in the 13th century, albeit a smart
one, after the de Pierpoints were granted a Royal
Charter for the 400-acre park. The handsome 141-
room Grade I-listed Elizabethan mansion we see
now was built by George Goring in 1586 (Goring
had previously built Pelham House in Lewes).
Over the centuries, Danny has been modernised
and extended under the ownership of several
families. In 1956, the Country Houses Association
took it over, then current owner Richard Burrows
bought it in 2004, creating a number of serviced
apartments for retired people.
When Judith Brent was working as an archivist for
the Record Office, she was asked to catalogue the
archives from Danny. Subsequently, she and husband
Colin wrote a book called
Danny House, A Sussex Mansion
through Seven Centuries, which
includes a chapter entitled
The Great War, the PM and
his ‘Darling Pussy’.
Colin describes Lloyd
George, also known as the
Welsh Wizard, as a brilliant
politician and a real character,
with a habitual twinkle in his
eye. He hosted a grand party
at Danny in August 1918,
with the Sussex Yeomanry
cadet band, dancing and
patriotic songs, attended by
locals, Cabinet ministers and
convalescents.
Lloyd George would customarily climb nearby
Wolstonbury Hill before breakfast with War Cabinet
papers, which he’d sometimes leave behind if it
rained, and which his secretary/lover Frances Stevenson
had to retrieve. Colin tells me he is unsure
whether Margaret knew about the affair. Certainly,
their daughter was friends with Frances until she
found out. Lloyd George had made a career being
a champion of Welsh nonconformism and knew
public knowledge would destroy his power base.
But he wrote a number of ardent notes to Frances
at Danny, addressed to ‘My darling Pussy’.
Emma Chaplin
To commemorate 100 years since the end of the
Great War, there will be a garden party, including
an unveiling of a new sculpture of Lloyd George,
by Philip Jackson (above). Sunday 2nd September,
2-6pm, £5 in advance, £20 for a family ticket. Part of
Hurst Festival, whose events include the premiere
of a play about Lloyd George’s time at Danny called
Winning the Peace. hurstfestival.org
Grateful thanks to Judith and Colin Brent.
....91....
BRICKS AND MORTAR
...........................................
Photo by Axel Hesslenberg
....92....
BRICKS AND MORTAR
...........................................
A radical extension
‘Prepare to see Charleston in a whole new light’
“The Bloomsbury group
were radical pioneers, so
it’s entirely fitting that
one of the best architects
working at the moment
in the UK was chosen to
design an innovative and
quite radical building,
but one which doesn’t
impose itself onto the
surroundings.”
Nathaniel Hepburn, the director at Charleston
(pictured), is showing me around a well-ordered
building site, neatly dove-tailed between the
existing outbuildings of the Bloomsbury Group’s
farmhouse home and the working dairy farm next
door. “It’s important that it fits seamlessly into the
historical site. From all the historic curtilage of
Charleston itself, it’s entirely invisible.”
The two restored barns and newly built galleries
will open on the 8th of September, adding 570
square meters of exhibition, restaurant and
auditorium space, a visitor reception and shop. It’s
been years in the planning and has been exactingly
rendered by an illustrious rollcall of architects,
designers, and contractors.
The courtyard entrance, landscaped by Tom Stuart-
Smith, whose other projects include The Hepworth
Wakefield and The Royal Academy, is enclosed
on two sides by a crisp glass and timber building.
Designed by architect Jamie Fobert, who will lead
the transformation of the National Portrait Gallery
and whose Tate St Ives extension is shortlisted
for the 2018 Stirling Prize, it houses five intimate
gallery spaces, each with the environmental and
security specifications that allow for work to be
borrowed from international collections.
“The gallery programme will have Bloomsbury
at its heart, but it won’t just be showing work
by Bloomsbury artists. Charleston was a place
where ideas were discussed, a meeting place
Photo by Axel Hesslenberg
for great novelists,
great intellectuals,
great thinkers, great
economists, so the scope
of our programme
will reflect the ideas
that were discussed
around the dinner
table. We’ll be showing
work by contemporary
international artists who
are exploring the same ideas that were explored
here 100 years ago.”
The new building adjoins the two historic barns
which have been both conserved and transformed
by heritage architect Julian Harrap. The 18thcentury
oak timbers have been retained where
possible and carefully spliced with new where not.
A loft has been created for the resident bats. It
feels unspoiled and yet there’s underfloor heating
beneath the polished concrete floor and a sound
and lighting system that will make it a superb venue
for a year-round programme of events.
The improved visitor facilities will also allow for
the house to remain open for the winter, albeit with
restricted access. “Winter is very different in the
house. It has a very intimate feel. You’ll be able to
see the house both as the Bloomsbury group lived
in it through the winter, but also as a museum that
is working to preserve, restore and protect its very
fragile collection.
“These new facilities are beautiful, beautiful
spaces that allow Charleston to welcome in
wider audiences and to tell different stories about
Bloomsbury and its continuing influence.”
If you think you’ve come to know Charleston,
prepare to see it in a whole new light. Lizzie Lower
The galleries open to the public on the 8th of
September with a weekend of activities looking at the
restoration of the spaces as well as opening the three
exhibitions (see pg 65). charleston.org.uk
....93....
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FEATURE
...........................................
Science in space
Barry Garraway’s atomic bubble trap
It took more than
a hundred years for
scientists to prove the
existence of Einstein’s
gravitational waves, which
he had first predicted in
1915 as part of his theory
of general relativity.
Now a University of
Sussex physicist is about
to find out if a theory he first came up with
eighteen years ago is correct.
During the coming months, NASA astronauts
on board the International Space Station will be
testing Professor Barry Garraway’s atomic bubble
trap. The small, box-shaped device uses special
lasers and magnets to cool atoms to a fraction
above absolute zero (minus 273°C) in a gravityfree
environment.
The answers will give insights into some of the
fundamental properties of matter and the nature of
gravity, and could also unlock the mysteries of dark
energy - the bits of the universe we know exist but
cannot see.
“I was delighted that my experiment was selected
by NASA out of thousands that were under
consideration,” says Garraway. “As a theoretical
physicist, it’s incredibly exciting to see the moment
when experimentalists pick up on your theory and
actually do the experiment.”
Garraway developed his bubble trap experiment
in 2000 after his colleagues at Sussex were the first
physicists in the UK to create a Bose-Einstein
Condensate, in which 100,000 atoms were cooled
to just a few hundred billionths of a degree above
the coldest temperature it is possible to reach.
In this state atoms are virtually motionless and
without energy, which causes them to collapse and
merge into a ‘superatom’.
Although predicted by
Saytendra Bose and
Albert Einstein in the
1920s, the phenomenon
was only proved through
experiments in 1995.
Garraway proposed to
develop the experiment
further by creating a
bubble shape with the cooled atoms to observe
what would happen. He hoped to see the atomic
bubble move in a wave motion, but the effect of
the Earth’s gravity caused the atoms to collapse
before scientific observations could be completed.
“I knew that gravity was an issue with this,” he
says. “But as we didn’t have the option of trying it
in space, I put the experiments aside and moved on
to other work.
“The fact that this is now being followed up by
NASA has renewed my interest. I am thinking
about different technical aspects of the experiment.
We could get the bubble of atomic matter to
collapse and vibrate and make different shapes.
Choosing different topologies usually means that
something interesting happens.”
The challenge for the NASA astronauts when the
experiment is running will be in creating as little
disturbance in the ISS as possible.
“It’s a very fragile experiment for what is still
quite a hostile environment,” says Garraway. “So
the experiment will be run during the astronauts’
rest periods and will be controlled remotely from
the ground.”
The excitement now is waiting for the results.
As Garraway says: “This could reshape our
understanding of matter and the fundamental
nature of gravity.” Jacqui Bealing
....95....
WILDLIFE
...........................................
Wasp Spiders
Love and death in the long grass
Illustration by Mark Greco
I never thought I’d say this, but I’ve fallen in love
with a spider. And coming from a lifelong arachnophobe
that’s quite a claim. Whereas every other
spider species sends me screaming in utter terror,
the Wasp Spider has melted my heart. They are gorgeous.
I met one on the South Downs last weekend
and, hypnotised by her beauty, I spent hours with her,
lying in the grass, staring lovingly into her eight eyes.
Wasp Spiders’ rotund abdomens are delicately
patterned with exotic black, yellow and white stripes.
Every spider looks subtly different – as if each has
been individually hand painted. Their eight legs wear
stripy black and white stockings – the sort favoured
by the Wicked Witch of the East. This stripy, waspish
appearance has given the spider its name and is used
as a defence mechanism to ward off predators who
equate this colouration with being stung.
They’re a relatively new resident in England. The
first British Wasp Spider was found near Rye in 1922.
Since then they have slowly spread across Sussex,
and you can find them in any area of grassland.
Here, inside their long-grass lair, they weave their
silky circular webs which – like all spider webs – are
masterpieces of arachnoid architecture. As if proud
of her accomplishment the Wasp Spider autographs
her web with a unique silken squiggle. The actual
purpose of this thick zigzag flourish (the stabilimentum)
is a mystery. Some believe it reflects UV light,
luring in pollinating insects who mistake the web for
a flower.
Male Wasp Spiders don’t have it easy. Physically they
lack any snazzy patterning and at 5mm are a third
of the size of their hulking female counterparts. And
when it comes to spider sex she dominates the male
too. During mating she turns her lover into lunch.
So, as the female lies enticingly in her web, the male
approaches her with understandable trepidation. It’s
all about timing. After she slips out of her old exoskeleton
her fresh body is temporarily soft – and so
are her jaws. This is her Achilles heel, an opportunity
for the male to jump in, do his business and get out
before being eaten.
This sort of pressure would affect any fella’s performance
but the male Wasp Spider has a trick up his
eight sleeves: he can detach his sexual organs, leave
them inside the female and scarper. I always assumed
that jettisoning his genitalia allowed the spider to
survive but almost every sex session ends in death
for the males; a kamikaze copulation. Scientists have
found that after this self-imposed castration the spider’s
sexual organs keep on fertilising the female and
block other males’ attempts at mating. The spider
sacrifices his own life and his todger to ensure he
becomes a father. Wow, what a way to go.
Michael Blencowe, Senior Learning & Engagement
Officer, Sussex Wildlife Trust
....97....
INSIDE LEFT: HOVE, 1925
.....................................................................................
In appreciation of all our readers – both teachers
and students – who have to go back to school this
month, here’s a shot from 1925 of three lads on
their way back to their place of education, after a
game of soccer.
We don’t know who the boys are, but we do
know which school they went to: Hove High
School for Boys, which was a small private school
based at 49 Clarendon Villas, in Hove, now
private flats.
The picture is one of a set of six in the James
Gray collection, which the archivist has captioned
as ‘culled from a private family collection’.
A couple of the shots show the boys kicking a ball
around, and a couple, including this one, show
them returning to school.
The boy with the bicycle is fortunate: the playing
fields were a good mile from the school, just
south of West Blatchington, straddling what is
now Holmes Avenue. The shot is taken just north
of Elm Drive and Cranmer Avenue.
Their school had been in the same location
since the 1880s, catering for sons of middle class
parents. It housed 200 or so day pupils, in classes
of 20-30. School colours were yellow and red,
and the school motto was Deus Fortitudo Mea,
‘God is my strength’. Walk past now, and you can
see a ship’s-figurehead-like female bust above the
door; sadly the boys’ nickname for that is lost in
the mists of time.
At the time the school was run by Charles Whitsed
Kingston, who was responsible for the plaque
still attached to the porch wall, commemorating
the 27 ‘Old Hoverians’ who died in the First
World War. Presumably many of these would
have been among the young commissioned
officers who led the charges over the top in the
Western Front.
Kingston died in office in 1930. He was replaced
by his son, the Reverend Herbert John Kingston,
also vicar of St Mary’s in Kemptown, whose
favourite dictum was ‘Smut. Won’t have it!’. He
was responsible for the addition of a Hove (and
Aldrington) High School for Girls, at no 47.
Kingston Jr passed the running of the schools
over to his daughter and son-in-law in 1951; by
1959 both had shut down. Alex Leith
Thanks, as ever, to the Regency Society for the use
of this picture; also to hovehistory.blogspot.com
for information on the school.
....98....
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apply!
for a course at Sussex
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We’re still enrolling
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Visit our website or call
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for details on how to apply.
www.sussexdowns.ac.uk
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