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
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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
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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.
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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....
'Fantastic place, full of beautiful magazines. I just love this shop.’
the world of great indie mags is here in Brighton.
22 Trafalgar Street
magazinebrighton.com
@magbrighton
magazinebrighton
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....
THE BRIGHTON
Waldorf School
SCHOOL
SHOWCASE
Thursday 23 rd & Friday 24 th January 2020
1:00pm - 4:00pm
The Brighton Waldorf School – a two-day Showcase
celebrating pupil performance and academic achievements.
Come along and visit live classroom lessons, see pupil
performances and meet the Brighton Waldorf School Team.
For more information, please visit:
www.brightonwaldorfschool.org
For any enquiries please call 01273 386300
Limited Company No. 2395378 • Registered Charity No. 802036
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
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my vet’s open
all night
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The Coastway Vets’ veterinary hospital
in central Brighton is open 24 hours a
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cover for most of the region’s vets every
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For more details call:
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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 *
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Pinwell Road, Lewes BN7 2JS
01273 525354
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for self-improvement.
Depot runs courses for adults
and children, from film
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We have learning experiences
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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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| UK-caught & farmed | delivered free
to your door
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....
"Never doubt that a
small group of
thoughtful, committed
citizens can change the
world; indeed, it's the
only thing that ever has."
Margaret Mead
Own it:
www.lewesfc.com/owners
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