Viva Brighton Issue #83 January 2020

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ART TO LOVE - ART TO INVEST IN

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VIVA

B R I G H T O N

#83 JAN 2020

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.

New Year brings with it all the promise of

renewal and the chance to start over. But new

doesn’t necessarily mean better. (Consider the

residents of Brighton’s West Laine, whose entire

neighbourhood was razed to make way for the

Brutalist terraces of Churchill Square. See page 82.

I doubt they were too enamoured with ‘the new’.)

That said – judging by the state of things – it can’t

be that the old ways are always the best either.

Perhaps we need to start with a blank sheet of

paper. Rethink how we do things. Go back to the

drawing board?

In these pages, you’ll find people who are starting

from scratch, coming up with new ideas or daring

to do things differently. Championing the new is

Olga Hopton, MD of Plus X – the soon to open

Innovation Hub on Lewes Road, where hundreds

of creative thinkers will find the space to realise

their ideas. Adam Bronkhorst meets some of the

members at PLATF9RM who are already sowing

the seeds of positive change. We drop in on Free

University Brighton who organise free educational

events across the city, and visit Brighton Waldorf

School who are putting ecology and global

citizenship on the timetable. And we climb aboard

ONCA’s repurposed Humber Barge – home to

their Curiosity Club, where young people work

with science, art and technology to find solutions

to real-world problems. I’ve no doubt that they

will soon be creating the world anew.

If all that leaves you feeling inspired, it might be

time to get on board yourself. Start something up.

Share your ideas. Be part of the solution. Make

your mark.



VIVA

B R I G H T O N

THE TEAM

.....................

EDITOR: Lizzie Lower lizzie@vivamagazines.com

SUB EDITOR: David Jarman

PRODUCTION EDITOR: Joe Fuller joe@vivamagazines.com

ACTING ART DIRECTOR: Rebecca Cunningham rebecca@vivamagazines.com

PHOTOGRAPHER AT LARGE: Adam Bronkhorst mail@adambronkhorst.com

ADVERTISING: Sarah Jane Lewis sarah-jane@vivamagazines.com;

Jenny Rushton jenny@vivamagazines.com

ADMINISTRATION & ACCOUNTS: Kelly Mechen kelly@vivamagazines.com

DISTRIBUTION: David Pardue distribution@vivamagazines.com

CONTRIBUTORS: Alex Leith, Alexandra Loske, Amy Holtz, Ben Bailey,

Chris Riddell, JJ Waller, Jacqui Bealing, Jay Collins, Joda, Joe Decie,

John Helmer, Lizzie Enfield, Mark Greco, Martin Skelton, Michael Blencowe,

Nione Meakin, Peter James Field, Paul Zara and Rose Dykins.

PUBLISHER: Becky Ramsden becky@vivamagazines.com

Please recycle your Viva (or keep us forever).


CONTENTS

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Bits & bobs.

8-21. The hand-drawn hand of artist

and illustrator Peter James Field is on

the cover; the ‘variously gifted’ CB

Fry is on the Buses; and Joe Decie is

in need of a new chair (and pen… and

notebook…). Alexandra Loske takes

a detailed look at the Craces’ interior

sketches for the Royal Pavilion; Analog

Sea takes us offline; and Alex Leith awaits

the fate of the nation at the St George’s

Inn. Elsewhere, JJ Waller captures

campaigners out on climate strike, and

Joe Fuller explores the ‘freegrees’ on

offer at Free University Brighton.

My Brighton.

22-23. Olga Hopton, Managing Director

of the PlusX Innovation Hub that’s

changing Brighton’s skyline.

25

Photography.

25-31. Prints of Darkness’ Victoria May

Roper on the pleasures of silver-gelatin

prints and dark, enclosed spaces.

Columns.

33-37. John Helmer is in the wilds of

Waterhall; Amy Holtz is sticking to the

middle ground; and Lizzie Enfield copies

us in.

‘Thanks Mother’ by Victoria Roper

‘Tom’ by Peter James Field

8

On this month.

39-45. Ben Bailey rounds up his pick of

the New Year gigs; Gavin Henderson

remembers Pete McCarthy at this month’s

Wellsbourne Society; The Heath Quartet

play a Coffee Concert at ACCA; and 1927

have raided the story-book index to bring

Roots to The Old Market.

....6 ....


CONTENTS

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Art & design.

46-55. Anne Ryan is at Hastings

Contemporary; David Jarman visits

Ditchling Museum of Art + Craft; and

Rose Dykins visits Hold – the Bond

Street home of Lagom Design. Plus, just

some of what’s on, art wise, this month.

70

The way we work.

57-61. Adam Bronkhorst visits Tower

Point and Hove Town Hall to meet some

of the members of PLATF9RM.

Food.

63-67. We have an uptown lunch at

Chard; Executive Chef at newly-opened

Cyan shares his recipe for peanut

hummus; and we talk nutritional therapy

(and starting over) with CNM graduate

Lola Ducout. Plus, a taster of the city’s

food news.

74

Features.

69-79. We go back to basics with

breadmaking at Anna’s Kitchen; visit Jake

Spicer at Draw Brighton; find out how

Brighton Waldorf School is doing things

differently; and go aboard ONCA’s Barge

at Brighton Marina. Paul Zara gives us an

update on the city’s plans for 1000 new

affordable homes; and we hear about the

rise of algorithms in recruitment.

Draw Brighton

Woodwork at Brighton Waldorf

Wildlife

81. Michael Blencowe tries to outsmart a

Grey Squirrel.

Inside left.

82. Making way for Churchill Square.

West Laine, 1966.

....7 ....


THIS MONTH’S COVER ARTIST

.......................................................

Peter James Field has an eye for detail.

I first came across his work in his 2014 book

No Bulb In My Lamp. Selected from a decade

of visual diaries, its pages are full of beautifully

observed drawings accompanied by his musings

and mutterings. One meticulous but unfinished

study of a tangled ball of string bears the handwritten

caption ‘I simply don’t have the patience

to see it through’. Beneath a figure reflected in a

dark glass bottle, is written ‘Dunford Road, Poole.

Self, reflected in Mum’s heartburn mixture’. An

empty frame marks the death of his Grandma and

a painstakingly drawn crumpled and spent blister

pack is annotated ‘Paracetamol and Codeine. I feel

very sad.’ They capture the stuff of everyday life.

Small, visual vignettes, both poignant and banal.

“I always wanted to be an artist,” he tells me, “but

the prevailing wisdom was that it was a pipedream.

So, I had to go around the houses a bit.” Following

a degree in Art History, Peter spent three years

teaching English in Japan before deciding to

follow his pipedream. He returned to the UK and

joined the foundation course at Central St Martins,

moving to Brighton in 2002 to study illustration.

Since graduating he has been represented by

Agency Rush and, for the past 15 years, has made

his living as an artist and illustrator – designing

book covers and contributing editorial illustrations

to publications including the Times and the

Telegraph, World of Interiors and Time Magazine.

All his work – personal or commercial – starts with

a drawing board and pencil, and he likes to set

himself a technical challenge, he says, “to satisfy the

artist in me. You need something to pay the bills

and you also need something to feed your soul.”

Lately he’s been obsessed with people and faces.

“I always wanted to be a portrait artist and to get

into the BP Award. For years I didn’t do anything

about it, then I hit 40 and thought it’s time to get

....8 ....


PETER JAMES FIELD

......................................................

serious.” He attended life drawing classes and

a beginners’ portrait painting class at Draw

Brighton (just across the corridor from his New

England House studio) and has been collecting

“interesting faces” ever since. In 2018, his

portrait of a man called Robert (pictured far left)

was selected for the BP Portrait Award and, last

year, three further works were selected for the

Royal Society of Portrait Painters Exhibition.

Job done you might think, and yet still he strives.

Pushing himself to capture ever more detail, be

it the contoured fabric of a highly patterned suit,

or the haunted look in the model’s eye. “It’s good

to have a focus. I’ve realised – and I’ve almost

realised it too late – that I could spend whatever

time I have left focusing on portraiture and I

might still never do a truly amazing painting.

This is the struggle, and it’s going to be a lifelong

thing.” Lizzie Lower

See more of Peter’s work at peterjamesfield.com

and at agencyrush.com

....9 ....


BITS AND BUSES

ON THE BUSES #57: CB FRY ROUTE 28

Charles Burgess Fry, known as CB Fry, has been dubbed ‘probably the

most variously gifted Englishman of any age’, by Test Match Special cricket

commentator John Arlott. Born in Croydon in 1872, Fry won a scholarship

and was educated at Oxford, where he was awarded a university ‘blue’

in football, cricket and athletics. Fry won school prizes at Repton in Latin

Verse, Greek Verse and French, and accumulated large debts whilst studying,

leading him to take part in nude modelling to make ends meet.

Fry graduated in 1895, and made his Test debut against South Africa

in 1896. He also played cricket for Sussex from 1894, captaining them

from 1904 to 1908. Fry captained England in his final six Test matches in 1912, and was known as a

brilliant right-handed batsman, scoring 30,886 first-class runs at an average of 50.22. He also played

football as a defender, earning one cap for England and playing in all eight games of Southampton’s

FA cup run, culminating in defeat in the final in 1902.

In later life, Fry ran as a Liberal candidate for the Brighton constituency in 1922, bringing some

‘glamour and excitement’ to the election due to his celebrity, according to biographer Iain Wilton.

He won 22,059 votes but lost out to the Rt Hon. George Clement Tryon. He died in 1956 in

Hampstead, London, aged 84. Joe Fuller

Illustration by Joda (@joda_art)

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CURATOR’S CITY

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An interior of the Royal Pavilion designed by the Craces, 1823.

All images courtesy of Royal Pavilion & Brighton Museums

THE DRAGON’S IN THE DETAIL

DESIGNS FOR THE ROYAL PAVILION

The new year is starting well

here at the Royal Pavilion,

with many of the rooms now

appearing very close to what

they looked like in George IV’s

time. The ‘A Prince’s Treasure’

loans from the Royal Collection

Trust complete the extremely

colourful and ornate interiors

of this most exotic looking

of all royal buildings in this

country and quite possibly the

whole of Europe. It is easy to

forget that these large-scale

and ambitious design schemes

are based on many small and

detailed drawings. The Pavilion

is a great example of interior

decoration becoming a genre

in its own right in the early nineteenth

century. The architect

John Nash, responsible for the

Pavilion’s distinctive Indian and

Gothic exterior look from 1815

onwards, had little to do with

the interiors. Instead, George

employed designers John Crace

(1754–1819) and his son Frederick

Crace (1779–1859) from

1802. They were later joined

by the hugely creative Robert

Jones (active 1815–1835), about

whom we sadly know very little.

We do know a lot about the

Craces, though. The family

Messrs Crace & Sons worked

at the Royal Pavilion between

1802 and 1823, and further

redecoration and restoration

work was carried out by John

Dibblee Crace (Frederick’s

grandson) in the 1880s and

1890s, until the firm folded

in 1899.

A significant collection of Crace

drawings relating to the Pavilion

is in the Cooper-Hewitt

Smithsonian Design Museum

in New York, but we are very

lucky to have around 230 loose

sketches and an important

complete sketchbook in our

collection, most of which are

attributed to Frederick Crace.

....12....


CURATOR’S CITY

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A design for the Royal Pavilion by Frederick Crace, watercolour, c.1815

Some of these will be shown

in a new exhibition that will

open in the Prints & Drawings

Gallery of Brighton Museum

in early May. I will be curating

this with Gordon Grant, who

has been working on the restoration

of the Pavilion interiors

for many years and has a real

eye for ornamental detail. We

have just started making our selection

for the display, which is

hugely enjoyable. Together we

are making new links to specific

parts of the Pavilion interiors,

which we are going to show in

the exhibition.

The highly detailed and brightly

coloured design drawings

reveal that the Craces often

copied directly from decorations

on Chinese porcelain,

wallpaper, Canton enamels

and embroidered textiles,

with little deviation from the

original colour schemes. They

also used printed sources, such

as the books published by the

artist William Alexander (1767–

1816), who accompanied the

Macartney Embassy to China

in the 1790s (see Viva Brighton

August 2018). In some cases we

can find a direct line from the

original source via the Crace

drawings to the final ornamental

detail in the Pavilion, as for

example in this sketch (above)

of Chinese mythological beasts,

which the Craces lifted from

a plate published by William

Alexander in 1805 showing a

scene inside a Chinese temple.

These motifs would eventually

appear in adapted form on laylights

upstairs in the Pavilion.

It just goes to show that it is

worth looking at the detail,

whether you are searching for

the devil, dragons, Foo-hum

birds or grotesque beasts.

Alexandra Loske, Art Historian

and Curator

Detail of a plate from William Alexander’s The Costume of China, 1805

....13....



BITS AND BOGS

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MAGAZINE OF THE MONTH: THE ANALOG SEA REVIEW

‘New’ is obviously good. I

mean, a new tyre to replace

the worn out one? Can’t

complain at that. Or how

about a New Year’s resolution

to rid of us our more

unpleasant or unhelpful

habits? Yes, I have (I need)

a couple of those.

But ‘new’ isn’t good by

default. It can be a very

dangerous friend. I’ve just

finished reading Autumn

Light by Pico Iyer. In it,

Iyer recalls a friend saying

to him ‘To learn something new, take the path

you took yesterday.’ Continually shifting from

one ‘new’ thing to another just leaves us always

in the shallows, whether that’s technology,

fashion or faith. The best ‘new’ comes from a

continuing exploration of what we already do,

again and again. This kind of new gets deeper.

Which brings me to The Analog Sea Review. It’s a

carefully curated selection of readings, some no

longer than a paragraph, others stretching to two

or three pages. It’s thoughtful,

inspiring, uplifting and

engaging. It’s also resolutely

not ‘new’ in the modern sense.

If you want to contact Analog

Sea you’ll have to write them a

letter. The beautifully printed

card inside my copy says, ‘So

you managed to find us amid

all the flickering and noise.’

When copies arrived in our

shop, they were wrapped in

hand-made paper with a handmade

seal.

Frankly, The Analog Sea Review

is amazing. The moment you see it and feel it

you’ll want to treasure it. There is nothing clever

or fancy or eye-catching about it at all. But it’s

made with such love and care that you know

that Jonathan Simons, who produces it, is always

re-working the path he took yesterday. ‘Back to

the Drawing Board’ doesn’t mean producing

something new: it’s all about producing something

better. We love Analog Sea.

Martin Skelton, Magazine Brighton

TOILET GRAFFITO #60

Let’s hope she’s not gone too far.

Whether the general election result went your way or

not, there’s an awful lot of sorting out to do. We could

do with Prudence having a seat at the table.

But where was it?

Last month’s answer: The Hare & Hounds

....15....


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BITS AND PUBS

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PUB: THE ST GEORGE’S INN

Is there a doctor in the house?

Well, yes, actually. There are

probably at least ten or 20

sitting and standing round my

table in the back bar of The St

George’s Inn, in Sudely Street.

It’s about 8pm on election day,

and the place is abuzz with

staff from the nearby hospital,

having a quick one (or three)

before heading home for the

long night ahead with Huw

Edwards and co.

I’m here with three friends

to get some wholesome food

inside me before attending an

all-night election party around

the corner. Until now I’ve only

been to the pub after visits

to the hospital, which means

that walking through the door

brings back some bittersweet

memories.

The Royal Sussex was long-established

when the pub, then

called The Sudely Arms, first

opened its doors in 1868, so

I can imagine that it’s been a

bolthole for people working

in and visiting the hospital

from the get-go. It fits the

bill, somehow. It’s surprisingly

spacious inside, with wooden

panelling rising halfway up

red-brick walls, and industrial

pendant lamps. A great place

for a good natter, and it’s buzzing

with conversation tonight.

The pub was renamed The

St George’s Inn in 2007, and

though it’s owned by Enterprise,

the barman tells me that

it’s not tied, so there’s plenty

of choice when it comes to the

beer. Two of us go for pints

of Ripper, the other two get

halves of Source, and we order

burgers and fries, talking about

the momentous nature of

whatever is about to happen.

Everyone in the bar seems

to have ordered at once, so

we’ve sunk two drinks by the

time the food comes. The

barman apologises – he hasn’t

expected such a crowd tonight

– and offers us a free pint to

compensate for the wait. This

makes my burger, a tall affair,

served with black pudding and

held together with a wooden

skewer, taste even better.

The mood is very different

when I return to the pub

the next day. I need to take a

picture of the place in the daylight,

and decide to have the

hair of a dog while I’m there,

having stayed at the party till

about 4am, when the gallows

humour ran out. Their guest

ale is an Adnams bitter called

Ghost Ship, a name which

seems to suit the occasion. I

take it into the astro-turfed

garden, and light a cigarette,

the music from the Hamlet ad

playing in my head. Alex Leith

Photo by Alex Leith

....17....


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JJ WALLER

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We’re heading for disaster, we need to act faster.

‘Messages to carry forward into the new year,’

writes JJ Waller, who captured these protestors at a

climate strike last autumn.

....19....


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celebrating pupil performance and academic achievements.

Come along and visit live classroom lessons, see pupil

performances and meet the Brighton Waldorf School Team.

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For any enquiries please call 01273 386300

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BITS AND BOXES

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CHARITY BOX #45:

FREE UNIVERSITY BRIGHTON

What was the inspiration

for Free University

Brighton? We set it up in

2012. Around the same time

I went to an Occupy movement

protest at St Paul’s in

London, and I was inspired

by their Tent City University.

People were educating

each other for free, particularly around economics,

answering some of the questions about why

so many people are homeless, without jobs, on

low incomes, etc.

What degree-level courses do you offer? The

social science ‘freegree’ is mixed subject: we do an

intro to philosophy, criminology, sociology, gender

studies, psychology. We happen to have a lot

of philosophy teachers working with us, so we’ve

created a separate ‘freegree’ in philosophy too.

Are the FUB classes like traditional university

classes? A lot of our learning is quite

interactive. It’s different from university where

you’re sat there with a hundred people passively

absorbing the knowledge from one person. Ours

tend to be a bit of information, then a bit of

discussion: learning, questioning, sharing each

other’s knowledge.

Does that help make it more accessible?

Absolutely. A lot of people say ‘I haven’t got A

Levels’ or ‘I had a poor education experience at

school, will I be able to cope?’ We start off in

the first year at a very basic level, so that doesn’t

really matter. We discuss things that are going

on in the world that people might be interested

in. A couple of years ago, we ran a course on

Brexit, for example, at an entry level. Anyone

can do our courses.

What else does FUB offer?

We now use the website as

a sort of one-stop-shop for

listing anything educational

that’s free. For example,

places like the Cowley Club

and The Bevy do a lot of

talks and workshops. The

Universities of Sussex and Brighton often do

public lectures that anyone can pop into.

Why is free education important? I think it’s

important because learning is so fundamental

to us. We don’t ever stop learning and it’s so

vital for everything we do: for our jobs, to be a

positive member of the community, in politics,

in social situations.

So much of what we teach and learn at the Free

University is about exposing and highlighting

the inequalities in society and the repercussions

of that. If you come from a poor, deprived

background then there’s so many things that

won’t be accessible to you. That happened to

me. I came from a poor family, and was working

in very low paid jobs. The way I managed to

improve my life was through university, before

the tuition fees. If you can educate yourself, that

is one way of breaking through poverty and

having a better life.

Free University Brighton founder Ali Ghanimi was

interviewed by Joe Fuller

The FUB website lists a wide range of free

activities, including allotment gardening, yoga,

Japanese calligraphy, learning English as a Second

Language, creative writing, interview skills and

more: freeuniversitybrighton.org

....21....


INTERVIEW

..........................................

Photo by Alex Leith

....22....


INTERVIEW

..........................................

MYbrighton: Olga Hopton

Managing Director, Plus X Brighton Innovation Hub

Are you local? I moved to Brighton from Birmingham

and I’ve lived here for four years, does

this make me local? Originally, I am from Poland.

What does your job involve? I’m managing

the set up and launch of the first Plus X

Innovation Hub, which will provide 550 desks

for freelancers, entrepreneurs, makers, start-ups

and scale-ups. Located at the Preston Barracks

site on Lewes Road, which has been derelict for

20 years, it’s part of the biggest regeneration

project Brighton has seen for decades. My job is

to ensure our innovation hub runs successfully,

providing the support our members need to help

their businesses innovate and grow. All the while

optimising positive social impact and minimising

the environmental impact. It’s all very exciting.

It’s very big! They are calling it the New York

skyline of Brighton. But as the city is hemmed

in between the sea and the hills, it is necessary

for buildings to grow upwards, to provide

accommodation and work space for the growing

community.

What do you like most about Brighton? I

love the fact that there are people from so many

different backgrounds, who care about the same

issues, such as sustainability, diversity, a fair living

wage, and equality. I’m happy to have joined a

very progressive community.

Does anything annoy you about the city?

We could do more about plastic pollution. I

would like local businesses to sign a pledge not

to use plastic bottles. That would really make a

difference.

Which pubs and restaurants do you like? I

like The Better Half, in Hove, a real English

pub with a quirky atmosphere. I walk there and

back from where I live in Prestonville, so I don’t

feel guilty having a big roast. The Urchin has a

good wine list, including Slovenian and Croatian

wines. As for restaurants, the Salt Room never

disappoints. Their fish is good, and they make

their own bread.

Where do you shop for food? Waitrose is my

supermarket of choice: they do more to push sustainability,

like using British farmers. Otherwise

Infinity and HISBE, to stock up on healthy stuff.

Is Brighton good for other shopping? The

independent shops in the Laines and North

Laine prove that shopping can be an enjoyable

experience, not just an act of blind consumerism.

Magazine Brighton and Gunn’s Florist are some

of my favourite.

What’s your favourite architectural landmark

in the city? Brunswick Square. I think it is beautifully

designed, perfectly symmetrical with the

green in the middle and opening up to the sea.

How do the South Downs compare with the

Carpathians? They’re smaller! But they make

for lovely hill walks. I did the 40-mile overnight

South Downs Way charity walk back in summer:

we started at midnight and finished at three in

the afternoon.

When did you last swim in the sea? In September.

I used to swim throughout the year with

a Danish friend. No wetsuits, just in a bikini. But

she left town, so I lost my motivation!

Interview by Alex Leith

plusx.space

....23....


Thinkers

Challengers

Innovators

Leaders

DISCOVER THE SUSSEX MBA

FIND OUT MORE

www.sussexmba.com


PHOTOGRAPHY

....................................

Prints of Darkness

Victoria May Roper

What is Prints

of Darkness? It’s

the name of my

website where I

sell silver-gelatin

prints that I’ve

made for myself

and for other

people. It started

a few years ago

when I began

processing my

own film photographs

at home, mostly as I thought it would

be interesting to learn, but also to save money.

Once I started doing it, I realised how much I

liked being in control of the whole process.

What can the process offer that digital/Photoshop

doesn’t? Like a lot of people, I spend

my day job sat at a computer, so it’s nice to get

away from that and make something with my

hands. What better way to unwind after work

than in a dark, enclosed space with a load of

chemicals?

Tell us about your darkroom… My darkroom

is currently a small bathroom attached to my

bedroom. It’s convenient in terms of location,

but when I have larger prints to make, I visit my

friend Melvin at Master Mono Darkroom in

North London. He kindly lets me use his equipment

and in return I pester him for advice.

What do you enjoy about the process? I love

the process, and I love that every image will be

different to print, depending on the photographer,

the camera, the film they used. There are

so many variables to think about for each print:

the exposure time, the contrast and what paper

to use...

Are you a

photographer

yourself? I enjoy

taking photos

but at this point

I prefer printing

for other people. I

like being exposed

to new images of

people and places

that I’ve never

seen myself, but

after printing

them I almost feel like I’ve got to know them.

Which photographer (alive or dead!) would

you most like to have as a client? I’d love to

have met Saul Leiter. There’s an amazing documentary

about him called In No Great Hurry:

13 Lessons in Life with Saul Leiter and he talks

a lot about not changing what you’re doing to

please anyone else, and not trying to live up to

others’ expectations. He was a big believer in

taking your time over things, and that’s definitely

an ethos I can get behind.

Where, as a photographer, would you like to

live, if not in Brighton? I love going to new

places and can imagine myself living in a lot

of them… as long as there’s a little space I can

use as a darkroom! I recently spent a month in

San Francisco. I loved the views over the city

and there were amazing sunrises and sunsets, so

it was great to spend the days walking around

taking photos. I didn’t want to leave, but that’s

another great thing about printing: when a trip

ends, I get to live it all again when I’m printing

the photos from my Brighton bathroom.

As told to Alex Leith

printsofdarkness.club

....25....


PHOTOGRAPHY

....................................

‘Brighton Brutiful’ by Nigel Coxon ‘Yorkshire Sculpture Park’ by Nigel Coxon

....26....


PHOTOGRAPHY

....................................

‘Chairs’ by Joseph Fox

....27....


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PHOTOGRAPHY

....................................

‘Thanks Mother’ by Victoria Roper

....29....


PHOTOGRAPHY

....................................

Photos from ‘Coney Island’ set by Victoria Roper

....30....


PHOTOGRAPHY

....................................

Photos from ‘Coney Island’ set by Victoria Roper

....31....


Craft MA

Textiles MA

Challenge your understanding of materials,

making and context and develop your

creative skills and ways of thinking.

Visit our Open Day on 6th February 2020

at Grand Parade, BN2 0JY

www.brighton.ac.uk/courses

my vet’s open

all night

Karen Oliver, Brighton

The Coastway Vets’ veterinary hospital

in central Brighton is open 24 hours a

day for emergency cases and provides

cover for most of the region’s vets every

evening, weekend and bank holiday.

For more details call:

01273 692257

coastwayvets.co.uk


COLUMN

...........................................

John Helmer

The Wild

Illustration by Chris Riddell

“Up there beyond the fence. About a hundred

yards.”

I stare through the viewfinder at shades of

murky green. A ragged white shape is picked out

by its body heat from the surrounding foliage.

“That could be your dog.”

It’s 11pm and I’m at Waterhall, on the point

of going home and abandoning the search for

tonight – only I’ve run into Nicki Scriven with

her night vision camera. Glamorous, dedicated

and only slightly bonkers, Nicki is part of a

team that goes out in the wind and rain to find

lost dogs.

“Go,” she says; “– but calmly: don’t shout or

call her.”

I stumble across a darkened rugby pitch towards

a bank of trees. But when I get there, I find only

deeper dark. And a cow mooing in the field

beyond.

Daisy, the Serbian rescue, slipped her harness

two days ago after an altercation with a

labradoodle. The Waterhall area, popular with

dog walkers, covers a huge area including

sports playing fields, two golf courses, farmland

and a nature reserve. She could be anywhere.

As a street dog, she would have been used to

scavenging for food. That will surely help her

survive, we tell each other. But as two days

become three and then four, our hopes take on a

desperate edge. Doubts creep in. We were never

unkind to her, but did she fret at confinement?

When we let her off the lead in the Withdean

Puppy Park she would sit staring through the

fence like Steve McQueen in The Great Escape.

Finally, did the call of the wild prove too strong?

Daisy is a dog-share, and her other mother, Jo,

is caught up in this as well. But it is my wife,

Kate’s distress at the dog-shaped hole in our

lives I see close up. She can’t work, she can’t eat,

she can’t rest – let alone sleep. We have bought

a laminator to waterproof the posters fastened

to every gatepost, and Kate is out day and night

following widely dispersed sightings from Mile

Oak, Devil’s Dyke or Hollingbury Golf Course,

each of which provokes a flurry of activity.

Followed by disappointment. Meanwhile

Nicki and her team set up motion-triggered

night cameras and carefully engineered traps,

and every dog-walker and owner in the city it

seems is helping out. A team of cyclists. A drone

operator. Social media activity is frenetic, with

retweets from, among others, Fat Boy Slim and

Sara Cox.

And then, one morning as Kate is preparing for

another damp slog around comes a call from

Nicki’s partner. Daisy has walked into a trap set

in Coney Wood, close to Mill Road. We collect

Jo and head up there to find Daisy unkempt,

foul-smelling, but unharmed – and almost

pathetically grateful

to be home

again.

She clearly

didn’t run

away from

us. To her

mind, it was

we who got

lost.

With thanks to

all who helped,

especially Lost

Dog Recovery

UK South.

....33....



COLUMN

.........................

Lizzie Enfield

Notes from North Village

My son returns home from college in a state

of excitement. This is not unusual. He’s a lad

who likes learning. Often, I step through the

door to be greeted by a barrage of facts about

exponentials, logarithms, algebra and other

things I barely understand but try to muster equal

excitement about.

It’s not always easy. I know almost nothing about

maths, physics or chemistry. To chat through

a carbon sequence (if that is even what he is

trying to do) is outside of my usual remit but

encouraging his enthusiasm is part of it, so I do

my best.

On this day his excitement is the result of having

a vaccination. I know. Strange boy. But to be fair

it’s not the vaccination per se but the paperwork.

He seems to be signed up to some sort of

meningitis vaccine trial, which I am almost sure

I should have been asked to give permission for,

but have no memory of doing so.

He reassures me he’s researched it thoroughly

and the vaccine has been tested equally

thoroughly and the issue of whether I missed the

essential paperwork, or not, forgotten.

But once he’d been ‘stabbed in the upper arm’

(I do understand hyperbole) there was more

essential paperwork to be done and this is where

the excitement stemmed from.

The nurse asked him to sign a form and then

gave him a copy, a copy she had made the old

fashioned way – by inserting a piece of carbon

paper between the sheet he had to sign and the

one she handed him after.

He’d never come across carbon paper before and

was amazed by its simple ingenuity.

It took me back to my mother tapping away at

her typewriter and my begging to be given a

pack of the magic paper she slipped between the

sheets, for Christmas. And to the hours spent

drawing pictures, miraculously duplicated. And

then I fast-forwarded to when I first became a

journalist and tapped away at my own typewriter,

churning out news stories and carbon copies for

the filing cabinet.

“The what?” asks my son, but I refuse to be

diverted from the ink-coated paper invented in

the very early C19 by Italian, Pellegrino Turri

as an early means of transferring the impression

made by typewriter keys onto paper.

It took a while for it to become a thing but a

thing it was until the advent of the photocopier

put the kibosh on carbon paper. The final blow

was dealt by the computer and all its attendant

printers ready to rattle off copies at the touch of a

button or blast of an ink jet.

But carbon paper left its own indelible mark

in the form of the abbreviation we still all use,

almost daily, in emails. Cc.

“So that’s what that means,” son exclaims and so

too do a surprising number of adults who are old

enough to be carbon-dated but hadn’t worked

this one out.

Cc. Lizzie at Viva Magazines…

Illustration by Joda (@joda_art)

....35....



COLUMN

...........................

Amy Holtz

The truth is, I’m a Minnesotan

We’re talking about choosing

seats in classes. Yoga, in this

instance.

“I go to the front, so I can

zone out – no distractions.” a

friend states.

“Oh, I don’t,” another says.

“I head for the middle so I

can see everyone. If someone

starts doing something

really twisty, it makes me

competitive and I spend the

class trying to do it better.”

The shudder-inducing thought of going to

the front of a class subsides as an epiphany is

dawning, and I nod vigorously.

“That’s me!” I say, a little too loudly. “I like the

middle, too!”

And before this moment, it’s never even

occurred to me, this pattern that’s shaped my

life. Not just in yoga but in conferences, movie

theatres, classes, buses. Seems like I’m always

in the middle of a queue. There’s probably a lot

to be gleaned from this behaviour.

I’ve always watched the front-row sitters, like

my friend, with awe. They’re so... focused.

They put their hands up to actually speak to

people and never do anything weird or bad.

They’re intentionally the first people to show

up to fitness-y things, with the self-assurance

that multiple pairs of eyes on their backside

is absolutely fine, because they’re incapable

of doing anything strange or disruptive, like

releasing a fart with their armpit or another

body part.

That’s all, frankly, exhausting, which is why my

MO, I’m rapidly realising, is to slide, thirtyseconds

late, into the centre of any given space.

Middle-seaters like me enjoy being amidst

the mêlée, within earshot

of gossip from the back and

with an eyeline to whoever’s

important at the front.

Middle-sitting signals that

you don’t want to get picked

on when you’re busy eating

a doughnut or texting – but

you’re still visible enough to

show off during unicorn-rare

moments of ability. You’re

shielded from the view of ‘the

Man’, but when you’ve done

a strong warrior pose, there are witnesses to

tell the tale.

Those last-row lurkers... well, they’re

admirably hedonistic. Back in the day, they

were usually napping, passing notes, talking

loudly – hurling wet lumps of strawberry gum

at the front-row-sitters before being sent away

to be disciplined. I have far too many memories

of the smell of these sweet slugs flying past my

face on their way to our star classmate’s hair,

the excitement of the class crackling through

the air with anticipation of its juicy docking.

Last-row lurkers are also sometimes situated

close to the door, so they’re the first ones out

in the event of an earthquake or when they’re

bored or need to go to the loo. Deviant, selfish,

always practical.

And when you don’t get a choice, when the

scourge of your surname places you next to

both the chief gum-tosser and that kid whose

family doesn’t believe in deodorant, a small

piece of you dies. Because, where you sit is part

of the very fabric of your being. It’s the only

thing I really bothered about resolving to do

in 2020: More middle-sitting, with extremely

occasional flashes of brilliance.

....37....


BOMBAY BICYCLE

CLUB

Sat 1 Feb

BOWLING FOR SOUP

Sat 15 Feb

THE SCRIPT

Tue 25 Feb

THE ORIGINAL HARLEM

GLOBETROTTERS

Sat 29 Feb

THE WHITNEY HOUSTON

HOLOGRAM TOUR

Sat 7 Mar

THE BOYS ARE BACK

Fri 27 Mar

THE JOE AND

DIANNE SHOW

Thur 2 Apr

SIMPLE MINDS

Mon 20 Apr

JOE BONAMASSA

Sat 25 Apr

GEORGE

Thur 7 May

TRIXIE MATTEL

Fri 22 May

DANCE ANTHEMS

LIVE

Sat 23 May

box office 0844 847 1515 *

www.brightoncentre.co.uk

*calls cost 7p per minute plus your phone

company’s access charge

Award-winning independent

3 screen cinema

Next to Lewes station

Pinwell Road, Lewes BN7 2JS

01273 525354

The New Year is often a time

for self-improvement.

Depot runs courses for adults

and children, from film

appreciation to animation!

We have learning experiences

for the whole community.

lewesdepot.org


MUSIC

..........................

Ben Bailey rounds up the local music scene

CLOWWNS

Fri 10th, Hope & Ruin, 8pm, £12/10

Clowwns ground to a halt

in 2016 without farewell or

fanfare, not long after the

release of their debut album.

The band reformed this time

last year as a one-off favour

for a friend, and they’ve only had one gig since.

So we’re not sure if this Melting Vinyl show is

another one-off or the start of a comeback. The

four-piece’s garage rock comes with literate lyrics

tempered by a silly streak. They’ve been compared

to fellow Brighton rockers The Cravats

and The Eighties Matchbox B-Line Disaster, but

really they have their roots in the mischievous

post-punk of bands like The Monochrome Set

and Bauhaus. It could be your last chance to see

them... until the next time.

TRIPTYCH

Thu 16th-Sat 18th, Hope & Ruin, £12/6

This is really three gigs in one, each with three

local bands on the bill. As usual, promoters Love

Thy Neighbour have kept the standards high

and the styles varied. Thursday’s show brings Abi

Wade’s gorgeous cello experiments together with

the dreamy alt-pop of Cubzoa (a solo project

from Penelope Isles’ Jack Wolter) and singer-songwriter

soundscapes from Hilang Child.

Friday night features grungy shoegaze, art-rock

and moody dream-pop from Hanya, Zooni and

CIEL, while Saturday rounds off with the uptempo

fuzz of Beach Riot and the Sonic Youth-style

distortion swirl of Happy Couple, not to mention

the “drunken ramblings” of Our Family Dog.

Each gig comes with a severely limited edition

lathe-cut vinyl release.

BEA EVERETT

Fri 17th, Brunswick, 7.30pm, £7/5

Even at their most subdued, Bea Everett’s songs

are never maudlin. She’s a singer-songwriter who

seems to have a naturally buoyant attitude and

an ear for a good tune. This gig is a launch party

for her debut album, Russian Doll. Six years in

the making, the record charts her “journey from

teen to adulthood” with a collection of songs that

combine jazz and folk with the musical theatre

of her family background. She’s been performing

live since she was 14, so it’s no surprise that

she’s a dab hand at piano, guitar and ukulele.

Bea opened for folk harpist Ellie Ford at the

Roundhill a few months back and has returned

the favour by booking Ellie as support at the

Brunswick.

STRANGE CAGES

Fri 31st, Komedia, 7pm, £8/6

Local promoters

Acid Box

are celebrating

Independent

Venue Week with

a triple-bill of top

local bands. Strange Cages (pictured), who have

supported the likes of King Gizzard and Idles

in the past, have been on a roll lately with the

release of their album leading to a UK tour and

gigs in Amsterdam. Fans of Gang of Four, The

Cramps or Ty Segall will find plenty to enjoy in

the band’s primal garage rock. Their pals Skinny

Milk are also playing tonight, continuing the

Brighton tradition of powerhouse rock duos

driven by noisy FX pedals and gutsy drumming.

Yetti complete the line-up with a blast of heavy

psych, stoner rock and Sabbath-style riffs.

....39....



TALK

.........................

The Wellsbourne Society

Gavin Henderson remembers Pete McCarthy

“He was known for a while

as the ‘scourge of Hove’,”

laughs Gavin Henderson

of his friend, the late comedian,

writer and presenter

Pete McCarthy, who

Henderson will remember

at this month’s edition of

the Wellsbourne Society.

The monicker came about

as the result of a show

McCarthy made for the

Brighton Festival in the late

’80s. Henderson, then director of the festival,

was working to broaden its scope from classical

music to encompass other art forms, especially

the comedy and theatre that was flourishing in

Brighton at that time. Two of the biggest names

were street performance group Pookiesnackenburger

– whose members included Viva contributor

JJ Waller – and theatre company Cliff

Hanger, where McCarthy cut his teeth alongside

Robin Driscoll, who went on to write Mr Bean,

and Steve McNicholas, who would co-found

Stomp. McCarthy quickly established himself as

someone to watch and dreamt up a number of

solo Brighton Festival shows including his infamous

Boredom and Black Magic in Hove; The Coach

Tour. “Audiences lined up on Western Road and

had to jump across the border from Brighton to

Hove – then a very stiff and starchy sort of place

– when they were handed a glass of sweet sherry.

Pete then took them on a tour around Hove,

making up the sights as he went along. It was

entirely irreverent and very funny.”

McCarthy’s star continued to rise and he became

established as a TV personality, specialising in

travel shows such as Channel

4’s Travelog and Desperately

Seeking Something, which

led into bestselling books

including McCarthy’s Bar,

where he documented his

travels through his mother’s

native Ireland following one

simple rule – he would never

pass a bar with his name on

it. “He started to live a quite

glamorous life,” says Henderson.

“He bought a beautiful

country home near Rodmell and his lifestyle

changed dramatically from that of the offbeat

fringe performer to a figure of some stature.”

When he died in Brighton in 2004, aged just 52,

his obituary in The Argus was titled ‘Goodbye

to a genius’ and city residents will have seen the

913 bus named in his honour trundling around

town. Henderson, whose own illustrious career

has taken him from Brighton Festival to his current

position as Principal of London’s Central

School of Speech and Drama, is looking forward

to remembering his pal at the Wellsbourne

Society, which this month explores Brighton

performers of the past. “David [Bramwell, host]

and I encountered each other in the taxi queue

at Brighton Station when all the trains had been

cancelled. I’d never met him before but we ended

up sharing a cab to Gatwick, got talking and

found we had lots of things in common. When

he asked me: ‘Did you ever know Pete McCarthy?’

I was very pleased to confirm that I did.”

Nione Meakin

The Wellsbourne Society, Latest Music Bar,

January 23rd

....41....


THEATRE

.........................

1927: Roots

Raiding the storybook index

From the tale of a man who shares his house

with Poverty to a cat that consumes everything

it sees, the folk stories that make up 1927’s

latest animated stage show Roots offer a glimpse

into a world both familiar and strange. The

company behind touring hits including Golem

and The Animals and Children Took to the Streets

has delved into The British Library’s Aarne

Index – a collection of thousands of traditional

stories from all over the world – to create a show

that depicts a weird, warped parade of cannibalistic

parents and tyrannical ogres. As ever, the

multimedia company draws on an eclectic range

of styles and influences to bring the stories to

life, from the Surrealist paintings of Max Ernst

to the films of 1960s French New Wave director

Jean-Luc Godard.

The show also harks back to the company’s own

‘roots’, explains co-founder Paul Barritt, whose

distinctive style of animation runs through

all their work. “When we started out in 2005

our shows were far more stripped-back, partly

because they were made with limited resources.

They have got bigger and bigger since and we

wanted to take a step back, to get back to our

essence.” The 1927 aesthetic has frequently been

compared to that of ‘a weird fairytale’, he says,

and the magical and mythical has long informed

work such as 2015 show Golem, inspired by a

Jewish folk tale about a man who fashions a

creature out of clay to work for him. “It made

sense to make something that was directly

drawn from that context.” The stories collected

in the Aarne Index offered an interesting

starting point, in part due to their brevity: “The

index only gives a very brief synopsis of each

tale so Suze [Andrade, co-founder, director and

writer] just used them as a springboard for her

....42....


THEATRE

.........................

imagination.” While the stories were collected at

the turn of the 20th century there is a timeless

quality to them, Barritt goes on. “These sorts of

tales have always been a means of understanding

the world and of making sense of the challenges

humans face. Some of them are undoubtedly a

product of their time but there is a lot that still

rings true today.”

While it’s a more pared-back show than their previous

appearances in Brighton, it still bears all the

1927 hallmarks, Barritt says, from the breathtaking

melding of animation, performance and film,

to a live musical score performed on instruments

from a berimbau – a Brazilian, single-string musical

bow made from a gourd – to a donkey’s jaw.

Well, actually, the donkey’s jaw has been dropped

since, Barritt explains. “It doesn’t really work in

a touring show. Places like Australia just won’t

let you in with something like that.” The pitfalls

of navigating customs with a few bones in your

holdall; it’s not a typical workplace problem, but

perhaps not so unusual in the rabbit-hole world of

1927. Nione Meakin

The Old Market, Jan 3rd–18th.

....43....


10.01 | The Hope & Ruin

C L O Ww N S

17–18.01 | Lewes

Lewes Psych Fest

30.01 | The Prince Albert

Peaness

05.02 | The Komedia

Isobel Campbell

07.02 | The Rosehill

Grimm Grimm

10.02 | The Old Market

Anna Meredith

20.02 | The Hope & Ruin

PINS

26.02 | The Komedia

Benjamin Francis

Leftwich

05.03 | St George’s Church

A Winged Victory

For The Sullen

29.03 | The Hope & Ruin

Pictish Trail

02.05 | St Luke’s Church

The Handsome

Family

05.05 | St George’s Church

Ezra Furman

ST GEORGE’S CHURCH EVENTS

13.02 | DHP Presents

Sam Lee

27.03 | atom promotions presents

10cc’s Graham Gouldman

& Heart Full of Songs

09.05 | Live Nation presents

Ward Thomas

Tickets for shows are available from your local record shop,

seetickets.com or the venue where possible.

meltingvinyl.co.uk

EARLY OPERA

Sat 8 & Sun 9 February 2020

3pm & 7.30pm

The Old Market, Hove

A gem from the birth

of opera: Marco da

Gagliano’s 1608 opera

La Dafne explores a tale

of thwarted desire with

gods behaving badly.

Book at bremf.org.uk

or 01273 201801

Happy New Year...

Viva 2020!


MUSIC

.........................

Heath Quartet

Extrovert Beethoven,

free for under 25s

Photo by Simon Way

A string quartet is a great first classical concert

for someone more accustomed to rock or pop

gigs. “It’s a much more personal and intimate

experience than an orchestra or a bigger group”

explains Christopher Murray, cellist in The

Heath Quartet. “Every performance will go

differently, due to the mood, the audience, the

venue. There are far fewer people on stage so

what each person is doing counts for a lot more.

Over a couple of pieces, you get to know these

people as musicians, individually.”

As someone raised on rock and pop music

myself, Brighton Dome and Strings Attached’s

Coffee Concert series has played a large part in

introducing me to the rich world of chamber

music. Beethoven’s string quartets can be breathtaking

when heard live, which might partly be

due to what Christopher calls “the physical

sense” of his music. “You really play with your

body: you have to really go for it.”

The first piece to be performed at ACCA will

be Beethoven’s String Quartet in D Major Op.18

No.3. “A very charming, very sunny, optimistic

piece. It’s got a wonderful spirit to it. A fantastic

fourth movement, really virtuosic. Beethoven

asked a lot of the musicians, for them to be

incredibly skilful in their ensemble playing. It’s

really exciting to hear.”

Brahms’ String Quartet in A Minor Op. 51 No.2

will come next, a piece Christopher describes as

“nostalgic and elegiac”. We’re both most excited

about Beethoven’s String Quartet in C major

Op.59 No.3 however, his favourite Beethoven to

perform. “It’s so much fun, and so generous. Extrovert,

and it has this real warmth to it. There

are moments where the cello is surprisingly

agile, which usually gets a bit of a surprised titter

from the audience.”

Christopher particularly enjoys playing the

pizzicato parts (plucked strings) in the second

movement of the Op.59. It’s a beautiful movement

that I recommend hearing at home before

the concert: a folk tune is explored through all

four instruments (two violins, viola and cello) in

mesmerising, melodious fashion.

The Heath Quartet have been performing at the

Coffee Concerts “for at least ten years. We’ve

got to know people in the audience quite well.

People often stay around afterwards and mingle

and chat.” The concerts are linked to the nationwide

Cavatina scheme, which offers free tickets

to anyone aged between eight and 25: interested

young people can collect tickets from Brighton

Dome or ACCA’s ticket offices.

“People often say there’s a crisis because

audiences are aging. I don’t really buy that. To

go to hear quartet music, which is often quite

complicated music, it can help to get to know

the stuff beforehand. But on the other hand it’s

a great experience for young people to hear it

fresh, without any preconceptions. So it’s open

for everyone.”

Joe Fuller

ACCA, 26th Jan, 11am

....45....


ART

.........................

Anne Ryan

Earthly Delites

I take my leave from Anne Ryan, a slight figure

in colourful trainers and a bouffant of grey hair,

in the main downstairs space of the Hastings

Contemporary art gallery, formerly known as

The Jerwood.

The walls are filled with large oil works by

Victor Willing, whose exhibition is showing till

January 5th, before Anne takes up the space on

the 18th. She has a tape measure in her hands.

She’s got a lot of curating to do before her show

is ready to be seen.

She’s been telling me about her latest body of

sculptural paintings, akin to a body of work she’s

shown recently at a gallery in Rome, where she

spent three months preparing the material. “I was

going around the place drawing everything that

took my fancy. I’d run out of paper and had to use

the card on the back of the pad. That was the basis

for these pieces. They stand up, on the ground.

Some of them have three sides, some five. People

walk round them. They spend a bit of time with

Left: ‘Untitled#03, 2019’. Above: ‘Disco Legs, 2018’. By Anne Ryan

....46....


ART

.........................

them. For any painter, that’s great.”

The pieces for the new show are a mix of collage

and acrylic painting. The subject matter is things

that Anne has noticed, travelling round her

adopted home city of London (she originally

hails from Limerick, in the west of Ireland). You

can tell a lot about her from the subject matter.

“Everyday stuff,” she explains. “Lots of gigs, musicians,

clubs. People doing nothing, hanging out,

drinking and smoking. A bold young woman with

her belly on show. Sinking boats. Four people

doing gymnastics on the back of a horse.”

She shows me some images on her computer.

The figures are not always complete: some are

missing heads and limbs. It’s a jumble of colourful

body parts: very vital, implying a great deal of

movement. These pieces will be artfully arranged

around the floor space, at different levels, with

ceramic works on the walls.

Interestingly, all the pieces have holes cut out

of them. “The spaces are as important as the

figures,” she tells me. “When you’re faced with

holes, it gives you room to invent. The image

breaks down in front of your eyes, and something

else appears.”

Upstairs, she’s curating another show. “Eight

other artists. Some of them I’ve taught [at Central

Saint Martin’s, and Camberwell], others I just like.

I’m always in people’s studios. It’s very playful: a

contemporary take on surrealism.”

She’s as influenced, she tells me, by musicians

as she is by other artists. “Have you ever seen

Snapped Ankles?” she asks. “I’d never heard

them before the gig I went to recently. I love not

knowing what to expect. Then you can trust your

own judgement, by looking and seeing. That’s

important, for an artist.”

As I leave the gallery, I realise I still don’t know

what to expect, fully, from Anne Ryan’s exhibition.

This, I realise, is a good thing. Alex Leith

Earthly Delites, Hastings Contemporary Gallery,

Jan 18th-March 22nd

‘Bend Over, 2019’ by Anne Ryan

....47....


ART

.........................

Philip Hagreen, Industrialism

Ditchling Museum of Art + Craft

‘For those who make things with their hands’

The Ditchling Museum opened in 1985, a

couple of years after we moved to Lewes. It’s

been very much part of our lives ever since. But

goodness it’s changed. Dim memories of the

early days in the old Victorian school next to St

Margaret’s Church conjure up old farm tools,

Victorian cottage parlours, period costumes and

the like. Delightfully amateurish, perhaps, but

only up to a point. The advent of the Hilary

Bourne Gallery in the early 1990s transformed

the museum, with its emphasis on Eric Gill,

Hilary Pepler and fellow members of the Guild

of St Joseph and St Dominic, not to mention

artists such as David Jones, Edward Johnston

and Ethel Mairet. A succession of rather

splendid exhibitions followed. One I particularly

remember was Handwriting: Everyone’s Art. The

catalogue was edited by Ewan Clayton and Timothy

Wilcox, both much involved in the museum

to this day. I still have the paper on which I

asked my then eight-year-old daughter to copy

one of the exhibits – ‘Be kind and tender to the

frog / And do not call him names / As “Slimy-

Skin” or “Polly-Wog”… or “Billy Bandy Knees”

/ The frog is justly sensitive / To epithets like

these’. But even then there was plenty of room

for the traditional museum. I’m looking at the

programme for 1997-1998. There’s Flint-makers

to Saxon Farmers: Archaeology on your doorstep

and a celebration of the 175th anniversary of

Ditchling Horticultural Society entitled: How

does your garden grow?. There’s Easter Monday

egg rolling for the children – those not quite

old enough, I imagine, to sign up for The Young

Wyverns, the junior branch of the museum’s

Friends’ Association.

....48....


ART

.........................

Philip Hagreen, The Breakdown

Philip Hagreen, Gently but firmly

All that was swept aside by the opening of

the new Ditchling Museum of Art + Craft in

September, 2013. I’m not complaining. It’s

a fabulous museum which always raises my

spirits as soon as I go in, even on the very, very

wet Saturday in early November when I visited

with three other family members. I hope it was

only the weather that meant we pretty well had

the place to ourselves, apart from the friendly

and valiant volunteers. But in my experience

it’s usually very quiet, which makes me worried

that Brightonians are not sufficiently cognizant

of how lucky they are to have this museum on

their doorstep.

If you’ve never been, or not for some while,

now would be a good time to visit. A current

exhibition, Disruption, Devotion + Distributism

(I’m not sure I got the ‘disruption’ bit) draws

on the recent acquisition of over 400 pamphlets

and posters produced by Hilary Pepler’s St

Dominic’s Press. It’s also timed to coincide with

the centenary of The Guild of St Joseph and St

Dominic – ‘primarily a religious fraternity for

those who make things with their hands’.

There’s also a display of Alan Kitching’s Letterpress

designs – The London Series – his recent A

to Z of London set against his earlier celebrations

of the capital including one commemorating the

great calligrapher Berthold Wolpe of Kennington

and… Lewes. David Jarman

ditchlingmuseumartcraft.org.uk

Philip Hagreen, The First Advertiser

St Dominic’s Press beer label

....49....


Original Art

in the

Heart of Sussex

The Art

of

Temptation

Come and be tempted by a selection of paintings, fused

glass, ceramics, prints and cards at reduced prices

6th January

to

23rd February

2020

Gina Lelliott ‘Winter Solstice’

Chalk Gallery

4 North Street

Lewes BN7 2PA

01273 474477

Open everyday 10am to 5pm

chalkgallerylewes.co.uk

Artist-run gallery


ART

....................................

ART & ABOUT

In town this month...

Cthuluscene, an exhibition of work by David Blandy and Claire

Barrett, is at ONCA from the 23rd January until the 5th of February.

Bringing together three films that address the climate crisis

and humanity’s collective future, the artists use voiceover, folk tales

and poetry to explore ‘the history of scientific inquiry, the parallel

evolution of ideas, and what we do now that the paradigms of the

post-industrial world are breaking down’. (onca.org.uk)

The Museum of Ordinary People (MOOP) – Brighton’s awardwinning

pop-up museum that celebrates the magic and mundanities

of everyday life – is looking for new participants. If you have a

collection of everyday objects or documents that tell a story about

someone’s life, you’re invited to join their free creative workshops,

which culminate in an exhibition in May. Email Team MOOP at

museumofordinarypeople@gmail.com for info, or join them at The

Spire on Sat 25th (7pm-midnight) for a party to raise funds for the

museum. (Entry £5/£3 cons, museumofordinarypeople.com)

There are just a few days left to see Floating Worlds

– an exhibition of Japanese Woodcuts from the

Edo period (1615-1868) at

Brighton Museum & Art

Gallery. Guided by haiku

poetry, the exhibition invites

you to experience mindfully

the sights of 19th century

Japan. Explore the city of

Edo (now called Tokyo), and

the Japanese countryside

beyond. (Until 12th January)

Image courtesy of Royal Pavilion & Brighton Museums

Bristol-based Hidden

Gallery opened its

second location in

Brighton last month.

Visit their gallery in

Kensington Gardens to see lithographs,

etchings and screen prints by an impressive

line-up of 20th and 21st Century artists.

Expect original work and signed editions

by Banksy, Picasso, Dali, Miro, Hockney,

Hirst, Emin, Chagall, Haring, Lowry,

Matisse, Grayson Perry and many more.

Lemn Sissay, photo by Slater King

Yes, it’s mid-winter, but we’re already excited about the 2020

Brighton Festival and to see what Guest Director (poet,

author and broadcaster) Lemn Sissay MBE has in store. We’ll

get to find out on the 11th of February, when the programme

launches. (brightonfestival.org)

....51....


TOWNER Eastbourne

Alan Davie

and

David Hockney

Early Works

15 February to 31 May 2020

Devonshire Park, BN21 4JJ

@TownerGallery

#EastbourneALIVE

www.townereastbourne.org.uk

Towner Members can enjoy unlimited

free access to this ticketed show.

Join for as little as £35 per year.

David Hockney, Arizona, 1964, acrylic on canvas, 60 60 ins

© David Hockney, photo: Fabrice Gibert

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

Pick up a Viva Lewes.

Available at Magazine Brighton and ACCA.

Cover art by Julian Bell.


ART

....................................

Out of town...

200 Seasons, the expansive retrospective of work by

British sculptor David Nash continues at Towner.

With only a month left to run (the exhibition closes

on the 2nd of February), we highly recommend a visit

to see the galleries filled with Nash’s monumental

wooden sculptures. Brink – an exhibition of works

from the Towner collection curated by Caroline

Lucas – continues alongside.

Also coming to an end this month, Post-Impressionist Living:

The Omega Workshops continues at Charleston until the

19th of January. 100 years after the pioneering Workshops

closed their doors, the exhibition explores their philosophy

and beginnings and brings together a huge selection of their

decorative homeware, furniture and fabrics against a fittingly

Bloomsbury backdrop.

Teacup and saucer, designed by Roger Fry, made at the factory of Carter, Stabler & Adams for the

Omega Workshops, c 1914. © Victoria & Albert Museum

The Myriad First Graphic Novel

Competition 2020 is now open to submissions.

The competition is for a graphic novel-inprogress

and is open to all cartoonists, writers

and artists working as a team, who have not

previously published a full-length graphic work.

The winner will be offered the opportunity to

develop their work-in-progress with Myriad’s

creative and editorial team with a view to

publication. The deadline for entries is the 28th

of February. (myriadeditions.com)

OPEN CALL: Towner are inviting

submissions for Towner International, a

major new biennial exhibition of contemporary

art that will take place at Towner

in 2020. Submissions are welcome from

professional artists across the UK and

internationally, with at least one third of

exhibitors to be selected from the South

East. The deadline is the 17th of January.

(townereastbourne.org.uk)

The newly refurbished Chalk Gallery in

Lewes opens after their Christmas break on

the 6th of January. Their first show of 2020

is The Art of Temptation: a group exhibition

including pieces from all the Chalk artists.

Choose from a broad selection of original,

affordable artworks in a variety of media, all

offered at reduced prices for a limited period.

The exhibition continues until the 23rd of

February. (chalkgallerylewes.co.uk)

Nichola Campbell

....53....


DESIGN

.........................

The window of HOLD, in Bond Street

Lagom Design

The importance of being thoughtful

The Swedish concept of lagom, meaning: “not

too much, not too little,” is the Goldilocks

of lifestyle concepts. Lagom is all about

moderation and balance (pretty apt for this

time of year). And in 2007, Hove-based

illustrator and designer, Kelly Hyatt, founded

Lagom Design, with the desire to capture this

magical state of “just right”.

Last summer, Lagom Design chose Brighton’s

North Laine for its first ever physical store.

Perfumed by the aroma of designer candles,

HOLD (14 Bond Street) is a shrine to

craftsmanship, and a treasure trove of highly

original gifts and trimmings that make life

a little more special. Danish designer Kay

Bojesen’s signature wooden monkeys climb

around the shelves, alongside all manner of

notebooks, stationery, coffee table books

and scandi-chic curiosities. There’s also an

impressive selection of gift cards – including

Hyatt’s own contemporary creations, often

simple text upon colour, where the sentiment

really shines through. “I’ve always loved

stationery and the process of sending cards and

gifts,” says Hyatt. “I believe it’s important to

keep some things low-tech before it’s all lost

forever to backlit screens.”

Hold creates the physical space that’s needed

for customers to admire Lagom’s tactile items

up close. “I’d always planned to open a store

and researched for two years before taking the

plunge,” says Hyatt. “I spent time in Tokyo

to see how the experts did retail. And I visited

cities such as Munich and Paris, places that still

consider bricks and mortar retail essential to

the fabric of society.”

....54....


DESIGN

.........................

Hyatt’s decision to create Lagom Design, and

later HOLD, stemmed from a deep connection

with, and appreciation for, everything

Scandinavian. “I adore Scandinavian furniture

and love the masters such as Hans Werner,

Torbjørn Afdal, Carl Aubock and Kay Bojesen,

whose designs we sell in HOLD,” he says.

“They just do everything so well! And they’re

also world leaders when it comes to making

environmental changes.”

These days, Hyatt seeks out designers,

artisans and makers from around the world

to add to Lagom’s greeting cards collections

and lifestyle boutique: there are almost 100 to

date. How does Hyatt know when he’s struck

gold with a designer that’s truly ‘lagom’? He

says it’s a gut feeling, based on his 28 years’

experience in the greeting cards industry.

“We try to keep using all our artists for as

long as possible and keep redeveloping their

style,” he says. “Many of them have become

good friends over the years.”

At a time where we’re prone to pinging

someone a WhatsApp message instead of

sending them a card in the post, Hyatt wants

HOLD’s wares to inspire people to make

thoughtful, meaningful gestures to one

another. “I hope in a very small way they help

to reconnect,” he says.“Making an effort to

select a card that’s made with care, and then

for the customer to be part of the process by

adding their own words, is something I think is

so essential in the digital age.” Rose Dykins

lagomdesign.co.uk

....55....


We run flexible and affordable drawing,

painting and printmaking classes.

Wednesday

11:00-13:30 / Tutored Life Drawing / £12.50 (£10.50*)

14:30-17:00 / Tutored Life Drawing / £12.50 (£10.50*)

19:30-13:30 / Untutored Life Drawing / £9.50 (£6.50*)

Thursday

12:00-14:00 / Untutored Life Drawing / £7.50 (£6.50*)

15:00-18:00 / Clothed Figure Drawing / £10.50 (£8.50*)

19:30-13:30 / Untutored Life Drawing / £9.50 (£6.50*)

Friday

12:00-14:00 / Untutored Life Drawing / £7.50 (£6.50*)

15:00-18:00 / Untutored Life Drawing / £10.50 (£8.50*)

Saturday

11:00-13:30 / Tutored Life Drawing / £12.50 (£10.50*)

14:30-16:30 / Tutored Life Drawing / £7.50 (£6.50*)

17:30-20:30 / Untutored Life Drawing / £10.50 (£8.50*)

Sunday

17:30-20:30 / Untutored Life Drawing / £9.50 (£6.50*)

*student price

For details of our specialist drawing,

painting and printmaking workshops,

visit draw-brighton.co.uk

@Draw_Brighton


THE WAY WE WORK

This month, Adam Bronkhorst turned his camera on some of the people

who base their businesses at PLATF9RM – a thriving business community in

Brighton & Hove, that creates contemporary workplaces for its members.

He asked them: 'What's your goal for the year ahead?'

adambronkhorst.com | 07879 401333

Arjo Ghosh, evandme.co.uk

‘To inspire, encourage and enable Brighton and environs to decarbonise

private car use, reducing pollution and CO 2 emissions. Ultimately, to

create the connections that help us reduce car travel in the city.’


THE WAY WE WORK

Carlos Saba, The Happy Startup School

‘My main goal for 2020 is to connect and support 500

entrepreneurs and changemakers who want to build

successful businesses by putting happiness at their core.’


THE WAY WE WORK

Emma Croman, VALID (non-profit)

‘My goal is to inspire others to question their

judgements, either of themselves or others.’


THE WAY WE WORK

Hob Adams, freelance web developer

‘This year is all about growing and challenging myself.

My main goal is to work on projects I’m really proud of.’


THE WAY WE WORK

Tamara Vodden, Tamara Vodden Ltd

‘To design, produce and launch my new sustainable Athleisure brand

and to make sure that the leggings and sports tops I create are the

absolute best in the market.’


BUNS & BOWLS

SMOKY

all new £10 weekday lunch menu from The Coal Shed, with fish, meat, and vegan options

An

See the full menu: www.coalshed-restaurant.co.uk | 8 Boyce's Street, Brighton BN1 1AN | 01273 322 998

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www.nutritiousfish.co.uk | (07496) 852133

SAVE 10% throughout January – quote code VIVAJAN10 at the checkout


FOOD

.............................

Chard

Uptown lunch

It’s been more than a year

since Chard moved to their

‘new’ home, on Western

Road. Since their early

beginnings as a weekend

evening pop-up at Café

Rust in Preston Circus, the

small family team has gone

from strength to strength,

earning their spot amongst

the city’s favourite eateries.

They’ve since found the

perfect home for their

sophisticated but relaxed

dining experience in one of

the most beautiful high street premises in the

city: the understated but oh-so-elegant i Gigi

general store. The move has allowed them

to extend their offer to lunch and dinner,

Wednesday to Saturday.

I arrange to meet my friend Maria there

one bright winter’s day. She’s considering a

move to the neighbourhood, so we’re having

an early lunch before a second viewing (and

a second opinion) of an apartment nearby.

Arriving as they open at noon scores us the

perfect people-watching table in the beautiful

full-width window of the first-floor dining

room. The low winter’s sun streams in,

splashing the pared-back interior in glorious

golden light.

The lunch menu offers seven choices, each

dish celebrating the best of the season as

well as spotlighting some outstanding local

ingredients. Maria opts for Calcot Farm

coppa, fennel salami and Sussex Charmer

(£13). The upmarket ploughman’s arrives

arranged on a wooden serving board, with

the locally-produced cheese and charcuterie

accompanied by generous

chunks of homemade

buttermilk and soda bread,

fig and plum chutney,

Nocellara olives and candied

walnuts. Maria savours each

element, describing how the

rich, salty air-dried coppa

and the aromatic punch of

the fennel salami is balanced

by the smoothness of the

cheese and the sweet and

sour tang of plum and fig

chutney: a “beautifully

balanced fusion” of flavours.

I choose the comforting warmth of a

Moroccan-inspired dish (£9). Cauliflower

florets roasted brown and nutty mingle with

gently spiced and smoky chickpeas, served

on the smoothest smashed sweet potato

with tahini. Toasted almonds add crunch,

and onions bring sweet and caramelised

notes, with dark salad leaves and a generous

sprinkling of nigella seeds adding layers of

complexity. As I’ve come to expect from

Chard, each mouthful offers a wonderful

combination of flavours and textures.

As ever, the food is exceptional and the service

both warm and efficient. There are tempting

desserts on offer but, delightful as it would

be to linger over coffee and cake, we’ve got

an appointment with a little slice of faded

Regency grandeur nearby. Once Maria has

moved in, there will be plenty, more leisurely,

lunches to come.

Lizzie Lower

Chard, 31a Western Road, Hove. Open

Wednesday-Saturday, lunch 11-3pm, dinner

from 6pm. chardbrighton.co.uk

....63....


RECIPE

.............................

Photo by Emma Croman. emmacroman.com

....64....


RECIPE

.............................

Peanut hummus

Alan White, Executive Chef at The Grand Brighton’s

new restaurant Cyan, on a dip with a twist.

I’ve been working in the kitchen of The

Grand Brighton for 14 years, nearly half my

working life, but I’ve never been as excited

about what we’re cooking up in the hotel

kitchen as I am now, with the recent launch

of Cyan.

The colour ‘cyan’ is a mix between blue and

green and we’ve chosen it as the restaurant’s

name because those are the colours of the

Sussex coastline: we’re blessed with an

abundance of great food from both sea, and

land. Where possible we’ll use local, seasonal

ingredients, sourced from the day-boats

that fish in the Channel, and Sussex food

producers.

The idea is to break down conventions,

making the experience of eating here more

like a dinner party than a formal threecourse

meal, with sharing plates arriving

when they’re done and people taking time

over their food. Chat to us! We’ll tell you

everything we know about the provenance of

what’s on your plates.

One constant on the menu will be this peanut

hummus, which is a great appetiser to nibble

on while you’re choosing other dishes. It’s

become a great favourite here already – we

opened in late November – because the

waiters all love it, and don’t hesitate to

recommend it.

And it’s so easy to make! This recipe makes

enough for four people. Drain a 380g carton

of chickpeas, setting aside the liquid for later

use. Tip three-quarters of the chickpeas into

a food processor, and add in the zest and juice

of half a lemon, a tablespoon of tahini, a level

teaspoon of paprika, a couple of cloves of

smoked garlic, two tablespoons of peanuts, a

teaspoon of rapeseed oil and three tablespoons

of the chickpea liquid. Blitz the mixture in the

food processor until it’s smooth.

A variety of textures really adds to a dish,

and we achieve this by adding the rest of the

(whole) chickpeas to the mix, and, before

serving, sprinkling with three tablespoons of

roasted, unsalted peanuts, which have been

toasted for a couple of minutes in a dry pan.

Also drizzle some extra virgin olive oil on the

top, to taste.

Serve with your choice of chips. At Cyan

we’ve been making our own by deep frying

thin slices of colocasia: these are so good!

Accompany, if you wish, with a crisp, floral

white wine.

This is a perfect nibbling plate to give your

dinner party guests just after they arrive,

but you could easily make it the basis for a

fuller dish: it would taste great accompanied

by some satay chicken and jasmine rice, for

example, and fresh coriander.

Don’t worry about this one dropping off

the menu at Cyan: the only thing we might

change – and we love experimenting here

– is the type of nut we use. We might just

have a surplus of Brazil nuts in January, for

example… Enjoy! As told to Alex Leith

Cyan, The Grand Brighton, 97-99 Kings Road

cyanbrighton.co.uk / @cyan.brighton

....65....


FOOD

.............................

A-news bouche

Lewes’ Caccia & Tails have opened a pop-up

shop in Boho Gelato on Ship Street. Their

homemade Italian street food – including

handmade pasta, polenta fries (popular at

Viva HQ) and fresh focaccia – will be sold

alongside Boho’s ice creams until May. The

Grand Brighton’s

new restaurant,

Cyan, is now open

11am to 10pm, every

day: you can find out

more in our Recipe

feature on page 64.

New restaurant Kindling takes inspiration

from the local environment, focuses on meals

for sharing and serves up food that’s good for

both the body and planet (they aim to create

as minimal waste as possible). The East Street

restaurant is run by the

previous management

at Food For Friends:

husband and wife

team Ramin and Jane

Mostowfi.

Seen me,

Seen you?

Photo by Jo Hunt

The Brighton Nutritionist, aka Fran Taylor,

is hosting a ‘healthy eating hacks’ workshop at

the Community Kitchen, 16th, 6pm to 9pm.

The interactive event will include practical

advice on how to eat 30

different plants a week, how

to turn leftovers into

high fibre/low calorie

meals, and how to reduce

the fat content of

food you regularly consume.

Make sure you are visible

to other road users.

Share the Roads

Share the Responsibility

f Share the Roads, Brighton & Hove


FOOD

.............................

Naturopathic Nutrition

Your health in your own hands

As many of us contemplate

a healthier lifestyle after

the excesses of Christmas,

nutritionist Lola Ducout

explains why it might just

be the best thing you do

this year.

My symptoms started in

my mid-30s. I was bloated,

my skin was breaking out,

I was tired all the time.

When I went to the doctor he told me I was

premenopausal and should basically just get on

with it. But I was really suffering.

Since it didn’t seem conventional

medicine could help me, I started

looking online for answers. I came across

the 5R protocol (‘remove, replace, repair,

reinoculate, rebalance), which works to

improve gut health and overall wellbeing

through nutrition. Coming from France, I

had a strong interest in food, cooking and

quality ingredients and I liked the idea that

I might be able to deal with my symptoms

through what I did – or didn’t – eat.

It was a challenge to follow the protocol;

I had to cut out caffeine, alcohol, corn, soya,

meat and dairy and I found it very lonely and

hard. But after a month all my symptoms

disappeared. My skin looked great and I felt

energetic. I realised there must be something

in it.

I’d been working as cabin crew for a

private airline, but I decided I wanted to

retrain to learn more about nutrition. I

began a three-year diploma in naturopathic

nutritional therapy at Brighton’s College of

Naturopathic Medicine where we learned all

about anatomy, physiology and how to start

seeing the body as a holistic

system. I found it very

empowering; it felt good

to know I could take my

health into my own hands

without relying on pills

and medicine. I still think

conventional medicine

is best for treating acute

illness and disease, but

a naturopathic approach

tends to get the best results when it comes to

chronic conditions because it considers the

body holistically.

I started my own practice in Hollingbury

not long after I graduated, and I now help

my clients to improve their health through

good nutrition. Every person is different but

I see a lot of health issues being caused by

stress, hormonal imbalance, thyroid problems

and autoimmunity. I do a lot of work around

regulating blood sugar because once this is

under control then stress hormones decrease

and the whole endocrine system can get back

into balance. I also look at how we can heal

the gut because it’s so important to our overall

wellbeing.

I don’t see many limitations in what you can

achieve with naturopathy, especially for those

who have been following a traditional Western

diet. It can make a difference to almost

everyone. It doesn’t have to be completely

restrictive either. I follow the 80-20 rule, in

that 80 per cent of my diet is what it should be

but I allow for life to happen in the other 20

per cent. Now and again there’s nothing wrong

with a cup of coffee and – in my case – some

delicious French patisserie.”

loladucout.com / naturopathy-uk.com

....67....



WE TRY...

.............................

Baking with ancient grains

at Anna’s Kitchen

Bread. It seems such a

simple thing and yet it

is one of the most overengineered

and political

foods on the supermarket

shelves. Monocultures

of hybridised wheat are

heavily treated with

pesticides, and massproduction

methods

add all kinds of ominous

‘improvers’ to our daily loaf. I’d like to find

an organic, sourdough bread made with

unadulterated, heritage grains, but where to buy

it (and how much is it going to cost me)? I decide

to take matters into my own hands and sign up

for a Baking with Ancient and Heritage Wheats

course at Anna’s Kitchen.

I meet my fellow bakers in Anna’s home kitchen,

from where she runs a variety of weekly breadmaking

courses. We start the day with a little

background: an introduction to the origins of

wheat and the refinements that have caused

some of the problems with modern bread.

We learn that, in ancient grains, the ratio of

glutenin to gliadin (the proteins in flour that

form gluten) is different from that of modern

wheat, making it easier to digest, and that

baking with sourdough helps break down those

troublesome proteins even more.

In the six-hour workshop, we’ll be using the

ancient grains emmer, einkorn and spelt

and Anna’s sourdough starter (that slightly

mysterious bubbling mix of flour, water and

naturally occurring yeasts that lives in every

baker’s fridge). We’ll each make three loaves:

seeded einkorn with treacle-soaked sunflower

seeds; rye with fig and carraway seeds; a spelt

sourdough with whole, soaked spelt grains; plus,

some seeded emmer crackers.

We weigh out the various

ingredients and mix the

doughs, adding a leaven

that Anna has made with

her sourdough starter the

night before. There are no

nasties here, just flour, salt,

water, fruits and seeds,

with the rise created by

the naturally occurring

yeasts in the leaven. It’s

much easier than I had imagined, with very

little kneading involved – just a little stretching

and folding every half-hour. Each dough

needs resting, shaping and proving at different

intervals and Anna keeps track with some wellhoned

fridge magnet scheduling.

Each class is limited to four people, so there

is plenty of time for individual instruction

and discussion, and a delicious home-cooked

lunch around the kitchen table. Anna is

passionate about baking and generously shares

her knowledge and experience, answering our

endless questions. Her enthusiasm is infectious.

Both of my fellow bakers have been on Anna’s

courses before and both are planning to be back.

Towards the end of the day, the loaves and

crackers are jigsawed into the cleverly organised

oven and – over the washing up – we talk more

about the culture and science of breadmaking

(as well as the relative merits of various Bake

Off contestants). A little later, I leave Anna’s

kitchen with three oven-warm loaves*, a dozen

crisp and golden crackers and – most excitingly

of all – a little pot of Anna’s nine-year-old

sourdough starter and the confidence to carry

on experimenting at home. Lizzie Lower

Baking with Ancient and Heritage Wheats course

£95. annas-kitchen.co.uk

*all delicious!

Anna in her kitchen. Photo by Lizzie Lower.

....69....


MY SPACE

.............................

Jake Spicer

Head tutor at Draw Brighton

We’ve been running life

drawing classes in this studio,

in New England House,

for about ten years. I started

running evening classes when

I moved to Brighton as a way

of meeting people and was

asked to put on a themed life

drawing event at Komedia

for the second White Night

festival. We expected 30 or 40

people but 750 turned up! So,

we set up this dedicated space

providing daily, affordable life

drawing classes for anyone

who wanted to come.

We offer an average of three

classes a day, seven days a

week. It’s mostly drop-in life

drawing sessions but we also

offer portrait painting and,

elsewhere in the building,

printmaking, as well as special

events, artists’ talks and the

year-long Draw Atelier course.

There’s room for 25 people

in the studio and we get a

real mixture of people in

each session: A Level and

university students, people

who want to take up drawing

as a hobby and lots of professional

artists and people working

in the creative industries.

It’s everyone in together.

Beginners sometimes feel

intimidated, but experienced

artists learn so much from

beginners because they see the

freshness of the new approach.

People are generally very

supportive of one another. It

was great to see our oldest

regular, aged 93, sharing tips

and advice with a 14-year-old

GCSE student.

People can turn up

with nothing as we have

everything here. There’s a

studio shop where you can buy

....70....


MY SPACE

.............................

what you need for a couple

of quid, and free paper if you

don’t mind using rough and

ready materials. (That’s better

sometimes as it feels less

precious.)

There is no pressure to

share your work, although

people often want to. We

offer three tutored sessions a

week, where we might focus

on hands, for example. Otherwise

sessions are informal and

untaught (but with a tutor on

hand to help). It’s about creating

an unpressured, flexible

environment.

Lots of people are afraid of

the blank sheet of paper,

so I’m a fan of blind contour

drawing, where you look at

your model 100% of the time

and draw without looking

back at the paper. Everyone’s

drawings come out looking

odd – competence doesn’t

make any difference – and that

breaks the white of the page

and gets everyone drawing.

There’s a huge demand for

life drawing classes. About

1000 new people attend the

sessions each year. Some are

just visiting the city and come

only once, while others have

been coming almost every

week for ten years. We kept

getting requests to set up

classes elsewhere, so we publish

a guide to help other people.

There are plenty of other

places offering life drawing

in Brighton, but we don’t feel

in competition. We’re all just

trying to encourage people

to be more confident in their

drawing.

As told to Lizzie Lower

Classes £6.50-£12.50, see

draw-brighton.co.uk for the

full programme

....71....


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FAMILY

.........................

Illustration (centre) by Sarah Edmonds

ONCA Barge

at Brighton Marina

“We don’t get a lot of painters applying for

residencies,” laughs Ellie Liddell-Crewe, manager

of Brighton’s newest community arts space. “If it’s

windy, the whole place rocks.”

She’s speaking to me from Brighton Marina, where

city art gallery ONCA has taken over the moored

1920s Humber Barge that formerly housed floating

Chinese restaurant The Pagoda. “The barge

is what I describe as our alternative ‘messy space’,”

explains Ellie, who has been managing the venue

on behalf of ONCA for the past twelve months.

“Our gallery at St George’s Place is now booked

up a year in advance so we can’t slot in the workshops

and residencies we used to run there. But

we have three rooms on the barge to support artist

development and we offer activities that address

environmental and social change.”

Bought from its previous owners by the charitable

arm of the Marina’s management company, the

boat has been converted to be ‘as sustainable as

possible’ with recycled wood, solar lighting and

environmentally-friendly materials such as cork

and chipboard.

It’s already been used by various charities, dance

artists and immersive theatre companies but as yet

remains an undiscovered gem for many Brightonians.

That’s set to change this year [2020], according

to Ellie, as they unveil a raft of community-focused

projects aimed at families and young people in

east Brighton. These include workshops for teens

linked to the city’s Nature 2020 project – a year

of events and activities that celebrate the natural

environment in Brighton & Hove – and a project

on the nearby Undercliff Path to introduce young

people to the West Marine Conservation Zone

(MCZ) that runs from the Marina to Beachy Head.

Commissioned artists will work with children from

three east Brighton schools to design MCZ-inspired

signage and sculpture that will be installed

on the Undercliff Path this summer.

“We want to engage young people with the

environmental issues we’re all facing, in a way that

doesn’t feel overwhelming to them,” says Ellie.

“Climate change is a huge global issue but it’s

something we can start to address on a local level.

If kids see what’s in the sea, they will perhaps have

a better understanding of why we need to reduce

plastic use, for example.”

ONCA has also partnered with Brighton Maker-

Club and the Trust for Developing Communities

to launch Curiosity Club, where young people will

be invited to work together to use science, art and

tech to find solutions to real-world problems. “We

want the kids to decide what they see as the big

issues and to think creatively about how they can

address them in a variety of ways. We’re excited

about what they will dream up.”

At weekends, the barge is opened up to the Marina’s

boat-dwelling community, many of whom are

artists and creatives, as a communal meeting place.

“They are very at home here,” says Ellie. “They’ve

already got their sea legs. The rest of us have to

find them fast.” Nione Meakin

onca.org.uk

....73....


INTERVIEW

.............................

Damian Mooncie

Director, Brighton Waldorf School

Until 2019, your school

was called the ‘Brighton

Steiner School’. Why the

name change? Dr Rudolf

Steiner founded the first

school 100 years ago, in a

factory in Stuttgart, the

‘Waldorf-Astoria’ from which

the schooling takes its name.

There are now over 1,150

schools, all over the world, and

everywhere apart from the

UK they are called ‘Waldorf

Schools’. We rebranded to

mark the anniversary, and to

connect with the worldwide

Waldorf family of schools.

We have recently added new

subject strands, of ecology, and

global citizenship.

What, in a nutshell, is a

‘Steiner’ (or ‘Waldorf’)

education? In a nutshell?

Creativity is encouraged, to

enable children to discover

themselves and develop their

individuality. The purpose

is for children to become

well-rounded individuals both

in their learning and their

emotions, so they can set forth

into adulthood with confidence

in their ability and a deep

understanding of themselves.

So it’s very different from

traditional schooling? In

mainstream school, children

are expected to park their

childhood at the school gate.

Waldorf Education ensures

that childhood is an intrinsic

element of schooling, and

that learning supports and

nourishes the individual at this

crucial development stage of

their life. We are, in effect, an

extension of home life. In the

morning children leave their

family home, and come to

their school home.

What about ‘the three Rs’?

Children are not taught formal

literacy and numeracy skills

until they are seven, which

....74....


INTERVIEW

.............................

is the norm in continental

Europe. By age 11 our pupils

have comparable numeracy

and literacy levels as children

educated in mainstream

education: they have ‘caught

up’, if you like, having acquired

many more life skills, besides.

What about assessment

tests? There are no SATS and

no CATS. The emphasis isn’t

about learning how to pass

exams, it’s on learning towards

a better life. The children

don’t undergo any formal

exams until their GCSEs.

What is the age range of

children in the school? There

are parent and child groups,

with six-month-old infants.

Kindergarten (Early Years)

starts at two-and-a-half. The

oldest students are studying for

their GCSEs. Each year group

has a maximum of 25 children

in a class, and usually between

15 and 20.

It’s a private school, right?

We are an independent school,

and I wish it were government

funded! As such, parents have

to pay fees, but as a charity

there are no shareholders, our

school is more affordable than

most other private schools.

Fees on average are £2,200 a

term per child.

Do students usually go on to

do A Levels and university?

All the year 11 students take

a ‘portfolio’ of seven GCSEs,

which enables access to all

A Level options for College.

Our pupils go on to colleges

to do A Levels, some go

into apprenticeships in the

workplace, I was Steinereducated,

and started my

working life as a sculptor,

before becoming a teacher!

Interview by Alex Leith

Open Days January 23rd

& 24th. More info at

brightonwaldorfschool.org

....75....


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BRICKS & MORTAR

.........................

Built Brighton

1000 homes – the rise of the council house

Council housing has

been around for 100

years and over that

time it’s been in and

out of fashion. At

times of peak need

(after WW1 and

WW2, for example)

it was essential for

re-building the country.

Lloyd George

pledged to build half a million homes – ‘Homes

fit for Heroes’ – which made council housing a

major part of the housing system in the UK.

By the 1970s we had a housing surplus: something

that’s hard to imagine today. That boom

was triggered by Winston Churchill, and it

paid off. Albeit much of the housing stock was

poorly constructed and is now being demolished.

But there were some amazing examples too: in

London, the Brutalist towers of Erno Goldfinger

are now highly desirable listed buildings, as are

the Camden concrete creations by the architect

Neave Brown.

Margaret Thatcher brought in Right to Buy legislation

which decimated the social housing stock,

while getting home ownership levels to a new

peak. Since then affordable housing has been supplied

mainly by private developers as part of legal

agreements attached to their planning consents.

It’s a daft way to try to solve the housing crisis, as

the developers don’t want social housing in their

schemes and will argue by any means possible for

reasons why they shouldn’t have to provide it.

But in recent years councils have begun to look

at how they might start to solve the housing

problem themselves. In

2016 Brighton & Hove

City Council agreed to

form The Living Wage

Joint Venture between

Hyde Housing (a local

housing association, or

Registered Provider as

they are now known)

and the council, as a

50:50 partnership. Together

they plan to deliver 1000 new homes: 500

homes which are affordable to rent for working

Brighton & Hove residents earning the National

Living Wage: and 500 shared ownership homes –

affordable to buy for Brighton & Hove residents

on average incomes. Living Wage housing is

defined as homes where the rent is no more than

37.5% of gross pay to a person or family earning

the National Living Wage. This equates to rent

that is well below market levels in the city.

It is so important to provide this sort of housing

in Brighton & Hove. We all know it’s not a cheap

place to live and this type of project enables

lower income workers to stay in the city, rather

than having to travel in from a distance. And the

scheme will offer residents the opportunity to live

in new, well-insulated and well-lit homes.

The first two sites now have planning approval

and will provide 104 homes in Portslade at

Clarendon Place and 242 on land to the east of

Coldean Lane; meeting more than a third of the

target number. It’s great to see the comeback of

council housing, and of a quality of which the

residents can be proud.

Paul Zara

Image courtesy of Conran and Partners

....77....


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FEATURE

.........................

Jacqueline O’Reilly

New year, new job?

If you’ve been with the same

employer for a while and are

thinking of moving on or

trying something new, you

may be surprised by how

tough it’s become out there.

Large companies (and many

small companies) have

lengthy selection procedures,

which can include filling out

complicated questionnaires and reacting to online

fictitious scenarios to test your reasoning skills.

You may even be interviewed on screen by a robot,

programmed not just to record your answers

but to analyse your facial expressions and the

speed with which you respond. Dither and you’ll

be graded as “indecisive”; rush in and you might

be seen as not thoughtful enough.

In fact, you may need to go some way along the

process before you meet an actual human being.

But is this really the best way to find the right fit

between employee and employer?

“There are various reasons why companies are

using these recruitment methods,” says Jacqueline

O’Reilly, Professor of Human Resources at the

University of Sussex. She is leading an £8 million

Digital Futures at Work Research Centre, funded

by the Economic and Social Research Council to

look at how digital technologies are transforming

our working lives.

“In some cases they are concerned about creating

equality and diversity in their workforce, or it

could be that they’re not getting the right quality

of applicants.”

However, computer algorithms that are used to

help select candidates aren’t necessarily free from

discrimination. “It depends on the information

used to predict the behaviour of certain groups,”

says Jacqueline. “Unless the

questions are changed to

be more inclusive, you can

reinforce bias.”

Jacqueline, who is based in

the University of Sussex

Business School, has specialised

in looking at fairness at

work, equality and diversity,

and government employment

strategies from youth to retirement.

So, in this new digital age, what is her advice for

jobseekers?

“Get on LinkedIn, make connections, and if

you’re applying through job platforms such as

Indeed.co.uk, make sure your application is relevant,

targeted and well crafted,” she says. “These

jobs are being advertised very widely, so you need

to make your application stand out; don’t just

click on automatic send and hope for luck.

“A good covering letter that states why you want

to work for the company, and that shows you have

done your research, is useful. But make it concise.

If it’s too verbose and rambling, it’ll do you more

harm than good.

“And if you have a video interview, it’s important

to let your personality shine through. Employers

want to see that you have the right attitude.”

Curiously, while digital recruitment technologies

are being adopted widely across the globe, the

take-up among smaller companies, especially

in the UK, is much slower, and something that

needs to be investigated more carefully, she adds.

The good news is that, in a place such as Brighton

and Hove, with its predominance of individual

companies, the old-fashioned method of presenting

yourself in person, with a CV, might still be

just as effective. Jacqui Bealing

....79....


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WILDLIFE

.............................

Illustration by Mark Greco

Grey Squirrel

A tough nut to crack

I’m crouching behind my sofa hiding from a

squirrel. While I’m here peering angrily out of the

patio window it has given me time to reflect on the

emotional journey that has led me to this place.

There was a time I was nuts about squirrels. As

soon as I could walk I was out shrieking through

the autumn leaves trying to grab a squirrel’s

bushy tail as it nimbly skedaddled up the nearest

Sycamore. Looking back now I’m not sure what

I planned to do with a squirrel had I ever caught

one. Once caught it’s actually illegal to release a

Grey Squirrel because, despite their cute appearance,

squirrels are extremely destructive. Grey

Squirrels outcompete other animals for food and

resources, destroy trees and harbour diseases.

The main problem is that they shouldn’t really be

in Britain, they are a North American species. We

can blame Herbrand Russell, 11th Duke of Bedford

for their invite. Herbrand’s harebrained plan

was to import squirrels to embellish his estate at

the start of the last century. Distributing squirrels

as gifts he and his landowner chums assisted their

spread across England. Our wildlife and landscape

just wasn’t designed to accommodate this brash

new American. Our native Red Squirrel, already

in decline, was particularly hard hit. Attempts

have been made over the years to control Britain’s

Grey Squirrel population, but these animals seem

indestructible.

In the last few weeks the battle has arrived in my

back garden. I recently purchased a bird feeding

station, an elaborate chandelier draped in peanut

feeders, fat balls and coconut shells. Yet the

nuthatches, tits and finches are being usurped by a

Grey Squirrel. I’m paying pounds and getting peanuts

and it’s the squirrel who is packing his cheek

pouches. It feels like I have laid on a buffet for my

friends only to find some American bloke (who I

don’t particularly like) has turned up to scoff the

whole lot. For weeks we have been locked in an

ongoing arms race. I don’t want to kill him – I just

want him off my new bird feeder. I’ve deployed

Vaseline, peppers and counter balances but each

time I’ve been outfoxed. He is agile, acrobatic and

very clever. Today I cracked. I purchased a squirrel

proof baffle (£15.99), a large Perspex dome 100%

guaranteed to make my peanut feeder impregnable.

I installed it as the squirrel watched curiously,

and with a confident laugh I returned to my front

room… to find the squirrel was already back on

the peanut feeder. I have no idea how he’s doing

it and he’s too smart to climb there if he’s being

watched. So here I am, behind the sofa trying to

find out his secret. Whether trying to beat them

nationally or just in our back gardens it really isn’t

reassuring to know we’re being outsmarted by a

rodent. Michael Blencowe, Senior Learning & Engagement

Officer, Sussex Wildlife Trust

....81....


INSIDE LEFT: WEST LAINE, 1966

.................................................................

It’s 1966, and Brighton, for better or worse, is on

the move. This photo, presumably taken from

the top of a half-constructed Sussex Hweights,

shows a vast 16-acre hole where a congestedbut-thriving

quarter used to stand. The first

incarnation of Churchill Square is still more than

two years from opening: there’s a lot of building

work to be done. In the meantime, there are some

much-needed new town-centre parking spaces.

It’s worth considering the heartbreak and trauma

that the demolition of a whole quarter of the town

must have caused. None of the residents had any

say in the matter, all the properties were obtained

by Brighton Corporation under a compulsory

purchase order. The area (formerly West Laine)

comprised a retail/residential mix, incorporating

18 streets, most of them lined with shops. Ten

pubs were lost, as well as two breweries, a school

and a church. The meat market was based there,

along with various butchers, including ‘Bertie Basset:

Brighton’s Brightest Butcher’. This wasn’t just

bricks and mortar going under the wrecking-ball:

a whole community was destroyed, its residents

dispersed to other parts of the town.

The redevelopment of the area started as early as

1938, but the war stalled the whole process until

1960, when the Corporation decided that wholesale

change was needed and razed everything

from Western Road south to Kings Street, and

eastwards from Cannon Street to West Street.

The Grand Hotel was originally earmarked for

destruction, but eventually given a reprieve. The

construction of the shopping centre was a massive

operation which took the best part of three years

to complete. The grand opening of Churchill

Square took place in October 1968, though the

lower level to the south of the square was not

completed until 1972.

The shopping centre incorporated two big office

blocks, named after streets which had formerly

criss-crossed the area, Russell House and

Grenville House. The retail units were soon filled

with some of the country’s best-known brands,

including Barclay’s Bank, British Home Stores,

Tesco, Sainsbury’s, Forte’s, WH Smith’s, Burton

and Bejam. It was a state-of-the-art Brutalist

construction which had already started looking

and feeling outdated in the late 70s. By the 80s it

had become, as The Encyclopedia of Brighton puts it:

‘a dilapidated, rubbish-strewn, socially hostile eyesore’.

Back to the drawing board, then: demolition

began in January 1996, with the new indoorshopping-mall-style

Churchill Square opening in

September 1998. Alex Leith

With thanks to the Regency Society for letting us

use this image from the James Gray Collection.

....82....


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