ISSUE 3: AUGUST 2013
WELCOME It’s officially summer and wow has it been hot here in Cornwall UK. We have had some great contributions for this issue and have enjoyed putting it together. æsthetip has become very popular in such a short space of time. We would like to thank everyone who has helped out. We now have a large following, so this is exciting times and wonderful to show off the creative buzz here in Cornwall. Our aim is to grow this publication and we are always looking for creative’s to submit. Issue 3 has many interesting features, interviews and lots of visual loveliness to help inspire. We have a new contributor, Megan Sharp. Megan is our Girl In The City, so look out for that! If you are interested in appearing or submitting your work please email us at firstname.lastname@example.org We hope you enjoy reading our magazine, issue 3 August it has been a pleasure! Emma
CONTRIBUTORS EMMA GRIFFIN PHOTOGRAPHER / EDITOR STEVE KENYON DEPUTY EDITOR CAROLINE PEDLER ILLUSTRATION COLUMNIST ALISON BALLARD VINTAGE FASHION COLUMNIST ANNALISE HARVEY DIARY AND PERFORMANCE COLUMNIST Laura Parsons Events Diary / Columnist NICOLA FROM DAISY RAIN COLUMNIST SILVIA MCKIDDIE BAKING CHARLOTTE DAVIS CURATOR DIARY MEGAN SHARP GIRL IN THE CITY COLUMIST E: email@example.com Find us on Facebook: Aesthetip
INSPIRATIONAL MAGAZINE FOR THE CREATIVE SOUL
08 - ARTIST OF THE MONTH
20 - TIM SHAW
22 - SARAH BALL
26 - SAM BASSET
18 - INSIGHT
30 - CURATORS DAIRY
32 - EVENTS
52 - FASHION SHOOT
44 - DAISY RAIN
40 - V INTAGE ALISON BALLARD
06 - GIRL IN THE CITY
50 - HISTORY WITH HOLLY
56 - GARDEN GATE
82 - ON THE BEACH
62 - FAVOURITE STOP
86 - REVIEWS
64 - THAT’S SO FABULOUS
88 - SNAPPED
76 - CREATIVE APPS
90 - STUDIO BITES
68 - K INGDOM & SPARROW DESIGN STUDIO
28 - CAROLINE PEDLER
34 - P HOTOGRAPHER OF THE MONTH ANTHONY GREENWOOD 46 - A MOMENT WITH JULIA MCINTOSH
Girl in the city — megan sharp Each month Megan is going to cover what’s going on in Truro, the hot spots, DIY fashion and buskers.
The staff are accommodating and friendly and the walls are lined with paintings from current exhibitions.
Finding somewhere nice to eat when you’re a vegetarian can be a bit of a chore! I often find myself searching snack bar after snack bar and leaving with the same old humble salad from M&S. Now don’t get me wrong, M&S currently have an incredible summery range and they’re very generous with their efforts to include us fussy eater but sometimes, you just want something a little different.
As for the food, I can personally state that they offer the best smoothie in town; thick, smooth and fruity (as a smoothie should be).
Today, I tried the Arts Cafe and I was not disappointed. Located just off Truro’s busy high street, the Arts Cafe is a lovely find with lots of variation in food and drinks. It has a very relaxed atmosphere, comfy seating and the cafe itself is light, airy and clean.
The salad was fresh and not a spot of mayo in site! Hurrah! There were so many flavours and combinations and all of their food is locally sourced and prepared in house (except for the bread which is from Baker Tom). Following my rather indulgent lunch I decided it would be unfair to miss out on cake (unfair to whom remains unknown)! I opted for the carrot cake, to finish alongside the last few drops of my loose leaf Earl Grey tea. The cake tasted as good as it looked, moist, spicy and absolutely delicious! It literally fell off my fork as I cut through it and, unlike most coffee shops, you get a decent sized chunk!
Of course, I ate every last crumb and I left with a very happy, and full, tummy! The Artâ€™s Cafe is run by Truro Arts who also run a great variation of art courses to participate in which is well worth checking out. ARTS CAFE 25 River Street, Truro
PHOTOGRAPHY BY MEGAN SHARPE
ARTIST OF THE MONTH amy albright
We recently caught up with the artist Amy Albright in her light filled studio located in Krowji. Do you have any rituals you follow before starting work in your studio? I suppose I do, I tend to come in to the studio, put the kettle on, sit and reflect on the paintings Iâ€™m working on. I work in thin layers of oil paint, and often work on up to 10 paintings at one time, all in different stages of development.
I will often look through my latest sketches, notes, books, photos and drawings to get my creative juices going always moving paintings around the studio, hanging them upside down etc. When i have decided what the painting needs next, which sometimes comes easily, other times not so much, it is then that the work begins.
Where do you see your art in 5 years time? I currently exhibit in a few galleries in the Southwest, One of them is Artwave west in Dorset, they specialise in exhibiting work in the niche between abstract and figurative, they have represented me for 4 years now and I have a great relationship with them. I would however really like to and exhibit out of the South West. In 5 years time I hope to see my work in a reputable gallery in London, Bath, or maybe even start exhibiting internationally.
I have also made links with the (CCANW) Centre for Contemporary Crt in the Natural World and Beaford Arts (where I was teaching as artist in residence last year) so I hope to get involved in some future projects with them over the next few years. Do you experiment with mediums as part of your process, if so in what way? My main medium is oils but I use them in a unique way, thinning/glazing, imprinting, layering, methods that have I have established from when I used to do a lot of mono -printing, i would apply the ink to the plate, wipe it away, scratch and drip turps on and print, I now work in a similar way in oils on canvas.
In my sketch book I use a lot of ink, emulsion and pencil as well as watercolour and charcoal for quick outdoor sketching and ideas. I take a lot of photos and this is crucial for my practice, although I never attempt to copy the photo,
I need these images around me to inspire my vision.
You have developed your own visual language, how did this come about?
“Albright has developed a visual language that alludes to the interconnecting natural forms and patterns that surround I’m sure growing up in Cornwall, always us. Her paintings communicate an intimate playing outside near rivers, beaches, view of the intangible and ambiguous in woods has imbedded a deep connection to nature. Numerous sources are explored the Cornish landscape but I have always and referenced in her work: meteorological, been drawn to the small things; patterns astronomical, satellite and microscopic and forms, I like luminosity found in imagery, as well as her own investigative x-rays, books about science, plant biology photographs. But it is the underwater, and I like to look at how patterns connect reflections and more particularly the up and make sense in this complex world we layers from the river bed/sea to the live in. I guess it just developed through light reflections on the surface that lots of experimentation and playing and inspire Albright‘s elemental vision. hard work, I’ve always wanted to paint pictures that are illusive and interesting, In paintings of great richness and exploring the possibilities and properties sensitivity she allows glimpses into a world that is not immediately apparent of oil paints and the marks that can to the naked eye, they only start to reveal be made. their secrets when we are prepared to give I think Martin Gould from Artwave more than a cursory glance. With careful West Gallery understands my work looking minute fragments and traces that more than I do! He wrote this for Art seem mysteriously familiar emerge out of England 2011. I think it sums up my of deep, luminous, translucent surfaces visual language very well: of colour; fragile aqueous shapes, beads of glowing light, and threads that float up out of turquoise or blue expanse hint at a primal universe locked deep in consciousness. All sense of scale is thrown into question; everything becomes blurred in an intimate unconstrained luminescence. There is a refined purity of purpose about her painting process; works evolve by allowing and capturing elements of chance, and balancing this with an intuitive response to previous marks. Layering, pouring, imprinting, accentuating and tuning takes place in the studio, methods that seem as organic as the subject itself, as if the work is imitating nature’s ephemeral flux.” Martin Gould 2011.
How many hours a week do you commonly spend in your studio? I tend to spend 2/3 days a week in the studio (doing messy work), so about 20 hours a week, but at home I continue doing drawings, writing, reading and developing other ideas – which all contribute to my practice How has winning The Midas Award affected your career – if at all? Winning the Midas award had a huge impact in my career. I had a lovely light, big free studio for a year at Krowji after I graduated, culminating in a solo show at the prestigious Newlyn Art Gallery, it really was invaluable. It really kick started my career and I got picked up by two galleries at the show including Tresco Gallery (and I was invited to do a 3 week residency on Tresco which was fantastic) and Artwave west. I think that year really pushed me, I upped the scale of my work because I had the space and I was really pleased with the large paintings I produced which were full of impact and I received fantastic feedback. During that time I was also being mentored by Naomi Frears (through a Creative skills placement, having such great mentors around me at that time definitely helped build my confidence in the difficult transition from art student to professional Artist. Are there any places outside of the UK you would like to show? I have just sent of a painting to Hong Kong, so that’s probably my most travelled painting, but as far a exhibiting, I would love to show in any major city out of the UK. I would love to do a residency in Iceland, that would be my dream, with all the geothermal activity, geysers, lagoons, icy light and think I would have no end of inspiration there; so it would be great to have an exhibition in Reykjavik.
Have you ever collaborated with another artist, if so please tell us about it. If not is there an artist you would like to work with? When I lived in Bristol, I shared a studio with a talented Draughtsman/ Graffiti artist, he would spend hours with a fine line pen creating a detailed drawing whilst I was flicking paint around! We always talked about collaborating and I know when the time is right we will; I like the idea of his controlled marks collaborated with my expressive fluid mark making. In fact, I am going to invite him to do a collaborative graffiti piece on the back big wall on the outside of my house next year, so that’s going to be really exciting. I really like the work of Photographer called Susan Derges, I would be keen to collaborate with someone who works in a different medium but shares the same interests. I once sold a painting to a biologist who was studying seed dispersal, the painting was inspired by some photos I had taken of sycamore seeds falling, he was fascinated by my take on the subject and I was taken with this scientific research, we communicated for years, he would send me pages of scientific reports about gravity and seeds and I would send him images of my seed inspired paintings. It was fascinating. I am definitely interested in that link between Science and Art and I’m sure in the future I will explore this relationship further. My home is adorned with all my experiments, I have recently been on a ceramics course and have enjoyed working in 3D building slab pots, I’m interested in the different patterns you can imprint into clay and the endless possibilities of glaze and oxide combinations. As well as this I have been working on a series of vintage style portraits on pattern cutting paper using inks, I’m interested
in surface and I paint on all sorts of things as experiments, including maps, aluminium and tracing paper, while I enjoyed experimenting in these mediums and pushing myself, I feel I need to develop these ideas forward before I will exhibit them along side my oil paintings. At what point in your life did you realise you wanted to become an artist? It sounds clichéd but I think I’ve always wanted to be an artist, from a young age I’ve always loved to create. It took me a while to decide which avenue to take my creativity down, I tampered with Graphic Design, but looking back I am so glad I chose Fine Art, it gives you so much more freedom to express yourself and collaborate. I can remember always dreaming about having my own exhibition in an Art gallery. Luckily I had a fantastic Tutor at University College Falmouth and really love what I do. My next exhibition is at Artwave West in October. www.artwavewest.com www.amyalbright.co.uk https://www.facebook.com/ AmyAlbrightArtist
PHOTOGRAPHY BY EMMA GRIFFIN WWW.GRIFFIN-PHOTOGRAPHY.CO.UK
INSIGHT Insight is an image-based book focusing on artistsâ€™ work and headspace showing intriguing aspects of their unique practices. Visual interviews featuring artists who are either emerging or are well established in the Cornish art scene today. The photographs in this publication offer a revealing insight into the working lives of the artists, showing extracts of details about their craft, workplace and personality alongside some candid observations on each artist. Each month aesthetip will show a teaser selection of images from this publication. For more details please see www.projectinsight.blog.com
TIM SHAW Having last viewed a large scale piece at the Limbo exhibition in Truro - part of the Truro Biennale Festival, it was with a curious mind stepping into the Millennium Gallery to experience Tim Shaw’s latest exhibition Awaken From The Dream Of Reality. Although works displayed were predominantly marquette’s the work was no less stunning on a smaller scale. The marquette’s were displayed with care and attention devoted in particular to lighting, shadows cast on the walls are as much a part of the sculpture as the pieces themselves. Although smaller in stature, there is a signature of the artist in the textures in the surfaces, and the physical structure. The overriding theme is apparent to the viewer with figures from mythology dancing and cavorting with more mortal figures. The exhibition is a celebration of rituals and rhythmic hedonism, there is a sense of sexuality and masochism as if you had stumbled across them lost in pure escapism. Walking through a door into a smaller room, one was confronted by live chickens pecking at grass, two figures in the room frozen in time so life like you get a sense that they will move at any minute. For more information, or to view the exhibition please see: http://www.millenniumgallery.co.uk/ dreamofreality/introduction.htm
MILLENNIUM STREET-AN-POL ST IVES CORNWALL TR26 2DS TEL: +44 (0) 1736 793121 EMAIL: firstname.lastname@example.org
SARAH BALL — ACCUSED Welsh Artist Of The Year Sarah Ball’s latest exhibition at Millennium showcases an ongoing body of intricate painted portraits taken from ‘mugshots’ that record the faces of the ‘Accused’. Extracted from police photographic archives from the 1920s through to the 1970s, the portraits fall into distinct groups - ‘The Philadelphia Poison Ring’ a murder for hire gang from the 1930s, ‘Civil Rights Activists’ from the 50s, 60s and 70s, ‘The Fire Raisers’ all kkk members who were tried but not convicted for killing a white business man who had employed black workers, ‘Poisoners’, ‘Suspicious and Dangerous Persons’ and lastly ‘Unknown’ where no other information is proferred. Intriguing and often unsettling, these diminutive paintings demand attention and contemplation as the viewer considers the crime committed and the circumstances from which it arose. As Ball comments ‘The police archive photographs are not taken for sentimental reasons. They capture a brief moment of crisis in the sitter’s life and you get a hint of the times they lived in. Some look sad, others defiant. Some just look bewildered.’
Acclaim for Sarah Ball continues to grow with two pieces curated by Edith Devaney the Curator of Contemporary Projects in the new portraiture room at the RA Summer Show, 2013. The work was shown alongside artists such as Frank Auerbach, Gavin Turk, Gary Hume, Julian Opie, Elizabeth Peyton, Alex Katz and Michael Craig Martin. Sarah Ball was shortlisted as Welsh Artist Of The Year in 2007 and 2009 - going on to win it 2013, as well as winning The Best of Wales prize at The National Open Art Competition, 2012. Sarah was shortlisted for the Threadneedle Prize in 2009 and has again been shortlisted this year.
Cornish artist Samuel Bassett is based in Porthmeor Studios in St Ives. Sam has been a lecturer at Truro College since 2011 and since then has also taught experimental drawing classes and artist workshops at The Exchange, Newlyn Art Gallery and The Newlyn Art School. His last solo show was held at the Millennium Gallery in St Ives, where the gallery represents him. He also founded LETH projects a curatorial platform for emergent arts in Cornwall, is a participant in the arts collective TAP, and is a partner in BUCCA a gallery for emergent arts in Cornwall. Bassett is an artist with boundless energy enthusiasm and has an integral and honest art language where he displays a scattered image of his inner monologue, mapping a truly active mind searching for the meaning of life. 26
Sam is exhibiting in the Newlyn Art Gallery, an intimate solo exhibition of recent works by the artist shown at The Picture Room. The show is titled ‘BEFORE & AFTER BIRTH’ and is on from 7/7 — 27/8. We popped along to check out the show. We found the exhibition to be full of energy and brightness. The vivid hot pink shouts out at you. The central piece is a 3D artwork, surrounding the walls is well hung groups of paintings. There is a feature wall, which we found most interesting, with wooden pieces mixed with paper art work and framed mini paintings. The show is certainly one not to missed! For further information or enquiries contact: email@example.com
ILLUSTRATION IN CORNWALL CAROLINE PEDLER
Embarking on writing a new piece for this months Illustration piece, I thought I would search for Illustrators based in Cornwall via the internet, so I googled ‘Illustrators Cornwall’. With not much luck, so I continued to scroll on, not sure that the internet itself was the best place to search for new and exciting blood using such generic language, but it was all I could do in the time I had available. After a while I searched for ‘Illustration collectives’ instead, which was a whole new ball game! If you know your illustration, you should know your collectives such as No Guts No Glory, Peepshow Collective and Soma Gallery. Collectives and groups of artists are beginning to pop up more and more, especially within the illustration world and if the success of googling ‘Illustration Collectives’ is anything to go by, the collective is the new black! But the examples above are not Cornish, and I didn’t find any Cornish ones in my brief search, and come to think of it, anything illustration is few and far between in Cornwall?
There is a spattering of illustration led events here in Cornwall, in Falmouth especially, including Penryn Arts Festival. I also hasten to include the illustration forum set up by Steve Braund, my course leader for the MA Illustration – Authorial Practice. This forum has a variety of speakers, all of whom are highly influential and seminal illustrators from the current day but also those from the 80’s and 90’s, sharing their expertise, stories and advice for one whole day in March. It is an amazing event and is full to the brim with Illustrators who have set the bar for illustration today. So most definitely a date in the diary that puts Cornwall on the map of National, influential, illustration events, if only for one of them. So from experience and working and living back here now for the last seven years, anything remotely illustration and especially illustration collectives, seem very much attached to colleges and universities, Truro, Falmouth and Plymouth being our most obvious examples. Even the independent zine and book fairs that are becoming more and more popular with illustrators, start mostly past the border from Plymouth upwards?
Courses like the MA in Authorial Illustration at Falmouth Uni seem to be fundamental in breeding a different and unique style of illustrator and aiding in the overall quality and diversity within illustration in general, and the more students that come out of these courses and set up groups and collectives can only help the cause, nationally and especially here in Cornwall. These include Pirrip Press with Georgina Hounsome and Alex Higlet, The Temporary Society of Authorial Illustrators, which has students, past and present and when I was on the course, I orchestrated a mid term show under the name of Hung, Drawn and Authored, which was a celebration of Authorial illustration and the products that were made because of that. There is also the previously mentioned Beginning Middle End collective from degree Illustration students at Falmouth University. From experience these collectives or groups appear to be happening because once out of college we realise we are on our own, back to our own desks, away from any other creative souls, so creating our own collectives and producing work for exhibition and for sale within groups, is the only way of really staying in touch with new and fresh ideas, not only with the creative process, but with like minded souls, sharing the highs and lows and ideas that keep us doing what we love doing, and sharing the cost. Exhibitions can be punctuations in that process, whether solo or as a collective, but to keep punctuating your process means to conclude and move forward, which for all us creatives is imperative for a fresh and healthy practice. I continue to foster my own authorial practice and realise how important it is for me, and my sanity! I put aside as much time for the Authorial that my commercial work allows and currently preparing for a show myself with two fellow students, the very talented Rose Forshall and John Kilburn, from the MAIllustration- Authorial Practice course.
It came about from an idea that was too big for one, so three came together and shared the load and the cost. The title came from the book, Waterlog by Roger Deacin and the show revolves around our individual interpretations and interactions of the water that surrounds us (all living in Falmouth). Come along and see for yourself. Waterlog is at the Poly in Falmouth from Aug 5th-12th with preview evening on the 6th August, All welcome.
A CURATORS DIARY To Curate or Create? Over the past 12 months I have been faced with the question: To curate or create? I have kept both practices distinctly separate to maintain professional etiquette and deciphered by name (Davis the ‘Curator’ and Williams the ‘Artist’). Can you really allow two practices to develop at one time? How do you decipher these practices whilst also remaining SANE? Yesterday, I had a conversation with an artist, who presented the idea that the roles within creativity are now blurring and Cornwall provides the platform for multi-tasking. Great news... Many of us are familiar with artist / curators, for example: Sam Bassett, Liam Jolly, Celine Smith and Jesse Leroy Smith, amongst many others. So it is possible and let the inspiration begin. A challenge is set So here I set the new challenge as artist. I am initiating a daily project entitled, ‘A-Line’. This is a social media based series, exploring line and composition in our everyday lives. And the Curator’s Diary, exhibitions, etc etc shall continue.... Caption rant! My next quandary starts at Falmouth Art Gallery. I am obsessed with calculating display models. I develop formula which open up possibilities to encourage the viewer to physically engage with an artwork. I am testing the balance between Access and Aesthetics
How do we interpret artwork in a museum / gallery without off-setting the display of the artwork? How much information do we really need? For me, a caption should present a brief context for an artwork, without telling the viewer how they should perceive its meaning. The text should be clear and the positioning is integral... not too high, not too low and it should absolutely not interfere with the breathing space around the artwork. This all sounds rather daunting and finicky, however, I am sure there is a massive amount of research to be explored. I hope to continue this survey of wall captions and exhibition research over the coming months.... Collaborations continue Taking a step out of the county can be re-energising, and for me a day trip to Bristol was just what I needed this month. Sat on the two-part park and ride bus (I must emphasize this as these small city differences do seem notable when you are a Cornish girl!), I scrolled through the ‘What’s on’ for Bristol. Arnolfini was closed for a re-hang.. gutted!!! But hey ho.. there must be something else worth seeing. Little did I know that a ‘Gromit Unleashed’ (www.gromitunleashed.org.uk) public art project would be just the ticket. This project, which is led by Wallace & Gromit’s Grand Appeal and Aardman offers a whopping 80 Gromits (the size of a small donkey), designed and taken over by a selection of artists and illustrators, situated in various locations throughout Bristol city. Each Gromit encounter merits a skip and a smile. This was clear by the passers by and the butterflies in my tummy! At the end of the summer, each Gromit will be auctioned off to raise money for Bristol Children’s Hospital and Wallace & Gromit’s Appeal.
Hm.. for my birthday, I would like.... A giant Gromit!! An evening expedition. At the end of all of this curatorial ramble... believe or not, we as creative practitioners do need to relax. Nothing is better than an evening stroll, in the dark, colliding with brambles, with the family and Domino... discovering glow worms! Yes they do exist; they are creatures born from fairytales and they really do glow! Let this fantastic cornish summer continue.... Ps - Dear Domino (my Curatorâ€™s Assistant). You are still top dog!!! Although Gromit does come close second! TEXT BY CHARLOTTE DAVIS
Alison Ballard is a recent graduate after completing her degree in Fashion. She is based in Newquay and is about to start her journey launching her own label called Silly Old Sea Dog.hoto fabric dress; the reason for this being that I also designed and had the fabric printed myself. My Great Grandfather, Richard Barker throughout the 1950â€™s mainly took the images on this dress. My Dad was lucky enough to have been able to keep hold of a number of his photo albums, where I was able to take the images from to
Event Calendar / August As a county brimming with creative ability, stunningly situated venues and a receptive public, Cornwall plays host to a fantastic array of artistic events throughout the year. So, whether you’re looking for inspiration, keen to learn new techniques and polish existing skills or just want to celebrate established and emerging talent, there’s plenty to interest and excite across the South West this August. This is our pick of some standout creative events to look out for in the coming weeks. Newlyn School of Art This boundary breaking art school is more than just a part of the Newlyn legacy; it’s paving the way for the iconic artistic movements of the future. With a wide range of unique, challenging and rewarding art courses on offer throughout the year every interest and ability level is catered for. Classes to look out for in August include the four-day stone carving course (1st August — 4th August) a twoday figure painting course (10th August — 11th August) a two-day introduction to oil painting with a palette knife (12th August — 13th August) and a twoday collage and paint course (14th August — 15th August). The stone carving course is perfect for novice sculptors and enthusiastic amateurs. Under the tutelage of David Paton, students will learn a variety of techniques and come away with the knowledge, abilities and confidence to advance their skills at home.
The two-day figure painting course gives creative souls of all skill levels the chance to benefit from the experience and guidance of Rose Hilton, one of the UK’s most esteemed figure painters. Progressing from sketching with pencil and charcoal to fleshing out figures in acrylic, this course really is a rare opportunity to hone your skills with the help of a renowned artist. West Cornwall-based artist Neil Pinkett heads up the intensive two-day oil painting with a palette knife course. By watching Pinkett’s demonstrations and giving some of his key techniques a try, artists of all levels will be able to hone existing abilities and pick up new skills. Finally, experimental artist Jesse Leroy Smith is giving students the chance to rethink artistic limitations and explore boundless worlds of texture, shape and colour. With one-on-one tuition and Jesse’s uniquely hands-on and playful approach, the course demonstrates how freeing creating abstract images can be and how they can go on to be used as source material. For more information about upcoming courses offered by the Newlyn School of Art go to www.newlynartschool.co.uk Newlyn Art Gallery – New Road, Newlyn If you can tear yourself away from studying the stunning exterior of the Newlyn Art Gallery you really should take a gander at the fabulous range of contemporary and classic artwork displayed inside. Both established and breakthrough artists feature at the gallery in an exciting mix of paintings, installations and sculptures.
Over August Newlyn Art Gallery – in collaboration with The Exchange and Penlee House Gallery and Museum – is hosting a week-long series of interactive and entertaining art-based workshops. Art Week runs from the 12th of August to the 18th and is open to all ages. The Exchange – Princes Street, Penzance Over at the Newlyn Art Gallery’s sister establishment The Story Republic in Residence will be open to visitors from the 24th July to the 3rd of August. This celebration of the importance of the story in Cornish culture is built around an enticing programme of events and unique installations. Leaving chock full of inspiration is guaranteed. For more information about exhibitions and events being held at Newlyn Art Gallery and The Exchange please visit www.newlynartgallery.co.uk
Following this, from August 23rd to September 16th, Cornwall Contemporary’s walls will be adorned with the vividly coloured paintings of Emma Dunbar, which celebrate the ornate secrets of everyday objects, and the bold representations of natural environments produced by Maggie Matthews. The Belgrave – 22 Fore Street, St Ives This quirky hub of contemporary and modern British art is holding its Summer Exhibition from July 15th to August 31st. As well as the psychedelic neon light sculptures of Peter Freeman, arresting pieces to look out for include a collection of tribal art and Alice Mumford’s glittering still life compositions. Over 50 unique artists feature in the exhibition, covering a wealth of disciplines and providing sustenance to even the most varied of creative minds.
Millennium – Street an Pol, St Ives
Tate St Ives – Porthmeor Beach, St Ives
Over the summer the always cutting-edge and compelling Millennium Gallery will be taking visitors on a journey of darkness and light while encouraging them to question the human obsession with finding the meaning of life. From July 26th to August 27th Sarah Ball will be returning with Accused – Part Two, a stunning follow up to last year’s unsettling series of portraits exploring and challenging the perception of outer appearance being indicative of inner character. Using police criminal archives as her primary source, Sarah Ball’s emotive representations of haunted individuals and misappropriated stereotypes have a gritty, provocative edge and lingering impact. Definitely one not to be missed.
Following successful Summer Exhibitions in 2009 and 2011, the Tate is hosting the 2013 Summer Exhibition from May 18th to September 29th.
Cornwall Contemporary – Chapel Street, Penzance From July 26th to August 19th Cornwall Contemporary will be throwing the spotlight on ceramic artist Fenella Elms (particularly known for her intensely textural, flowing pieces) eclectic multi-media sculptor Antonio Lopez Reche and the devastatingly surreal photographer Vikram Kushwah.
The eight artists featured have either been selected because of the way their work responds to/ reflects the history and geography of St Ives, or for the distinctive place they occupy in the British and American contemporary art scene. Sculptures by local icon Barbara Hepworth are interspersed with the collages of visual artist Linder in one unique and deceptively complimentary display. Other such aesthetic treats include a selection of Patrick Heron’s little-known textile designs and a range of R.H. Quaytman’s acclaimed silkscreen paintings – making the Tate well worth at least one visit this summer.
PHOTOGRAPHER ANTHONY GREENWOOD When did you first realise that photography was your calling? Photography has always played a large role in my private life and professional career. Professionally I used it as a tool to document my projects and to provoke discussion. Personally I used it to document my family and the places I have been. It was not until a forced career change that I considered the move into pure photography as a profession. I suppose that was my calling, the opportunity to re-evaluate my career and move back again into a creative field. Who is your ideal client and why? I love working with design agencies and creatives, where the ambition is to create unique imagery. Considered creative briefs are great and the tighter the better, pushing everybody to deliver innovative work. I also like working with originals, people who are happy being themselves. With interesting hobbies and past-times. These guys are great to work with, I find it easy photographing them doing what they love. They bring the subject matter and the passion, I bring the composition and the light.
What do your days consist of? Various activities, obviously photography but also a lot of admin, marketing, business development, networking and post processing. Plus a lot more of my family. Not as much actual photography as you would expect and not as much as I would like. But my day to day is about running a business which just happens to supply photography. How do you find work? Networking and who you know are the best ways I find work. Potential clients need to see you face to face, they need to like you and believe in you. Do you have any advice for aspiring photographers? You have to get yourself out there. Meet people, find out what they want and deliver it in your own style. Be yourself, be passionate, be bold. You have to be in it to win it. Real clients will not come and find you on Facebook.
IMAGE FOR TZEPHYRE CREATIVE
IMAGE FOR TRIFLEENEES
Where do you find your inspiration? I love Tumblr and the various photographers I follow on there. I am always looking at photographs, both professional and amateur, trying to dissect their methods and lighting arrangements. Mostly I follow my heart and my eyes and photograph the things I like, in the hope I can turn them into a photograph. They say that a picture is worth a thousand words. Is it true that one picture can tell that much and can bring a whole story in it? In my world it can. I am dyslexic and reading and writing is not my thing. My world is imagery, it always has been. My clients all understand that imagery is amazingly important, especially in this world of social media and immediacy. You need to capture your end-users imagination quickly and then deliver the punch. However video is also making a big impact. What camera do you use and what is your favourite lens? I bought a Nikon D700. At the time I was not sure which way to jump, Canon/Nikon - both produce great products. It came down to a design/aesthetic decision in the end and Nikon won. Lenses are all prime, I do not have a favorite because they all have their role depending on the assignment. However I do love my 135mm f2 defocusing lens for portraits and my 50mm 1.4 is usually my walk around lens. I recently used a D800 for a commissioned job, it is a tank of a camera with wonderful clarity and resolution, it will be my next purchase. What is your favourite photographic accessory, other than your camera? Oh easy, light meter. I use a Sekonic meter to make my life easy. It’s great in a studio setting and out on the road. Being able to accurately control my lighting and balance flash to ambient light is just a gift.
Who are some of your favorite photographers that have influenced you? Why do you admire these photographers? William Eggleston. He is amazing, a pure artisan. Fantastic colors, light and composition with day to day subject matter. He manages to make all his photographs look like a film set. Annie Leibovitz is also great, I love her story and business sense, she has several books that explore her rise to success and I found them very inspiring. What’s your favourite ever image, and why? Difficult to say, I would have to say my last image is always my favorite image. I spend a lot of time looking at my photos, evaluating and critiquing them. I am always on a constant journey of discovery and learning, so in turn my photography (I hope) gets better as well. If you push me to choose just one, I couldn’t. I would have to choose a set of photographs that I took on a trip to Portugal with my family, these photographs are for me only, taken on a journey of discovering the area we stayed in. No pressures, just me and my camera and a 50mm lens. Pure bliss. Lastly, what have you learned as a photographer in terms of life? My life - do what you love, be creative in any way you can. At the moment photography is that for me. I have been a fine artist a designer and a marketer, being creative is what keeps me alive. Photography means different things to different people, it depends on what you are photographing, who you are with and what has inspired you that week. For me it is all about creativity. What has photography taught you as a human being? Be passionate, be observant and look out for the moments. That’s what makes life special and photographs too. To view more of Anthony’s work go to: www.anthony-greenwood.com/
STUDENT PHOTOGRAPHER / SOPHIE DANBY https://www.facebook.com/pages/ Sophia-Jenna-Photography/ 138432679646601?fref=ts
vintage column writer alison ballard
Hello and welcome back to my Vintage and Handmade Fashion page. I hope you enjoyed last month’s articles and I am pleased to bring to you this month an insight into the Crysalis Young Professionals Programme in Belgium and a look at the works of Shabby Cow, a Penzance based business specialising in handmade bags made by up-cycling vintage books! The summer is now well up on as and an excellent opportunity to show of some great handmade and Vintage fashion finds! Alison Crysalis Young Professionals Programme – TI03 Ronse, Belgium I was lucky enough to be chosen to be part of the programme aimed at young people looking to set up their own textile based businesses via Plymouth College of Art. The Crysalis Project provides opportunities to combine knowledge and tradition with technology; collaboration with innovation and big names with textile start-ups. Most importantly, it unleashes the European textile community’s creative genius. Part-funded through the European Regional Development Fund, The Crysalis Project is a collaboration: The University for the Creative Arts in Rochester, leading the way in digital textile development as well as engaging young entrepreneurs; Plymouth College of Art with a large experience in education and crafts; the city of Calais represented by The
International City of Lace and Fashion and TIO3 Textiles Open Innovation Centre representing the city of Ronse, Belgium, both of whom have a rich heritage of textile tradition and a strong focus on public engagement and entrepreneurialism. During the three day programme we had lectures from a number of business individuals in relation to writing our business plan, marketing our product and pricing our product as well as learning about the phycology of buying and working together in groups to form our ideas. The course was attended not only by Plymouth College of Art students but also by students from the other universities and businesses represented by the programme. For me, it was a great honour to attend to the programme, and at such an early stage of setting up my business the advice provided by the programme was amazing! Also to meet a group of people in a similar situation to me was a great inspiration, and I would like to share some of the work created by other attendees of the course with you.
Liesbeth Verhelst — Zilque
Dorothee Vantorre — Les Folles Marquises
Liesbeth works from her studio in Belgium creating fabulous high quality leather handbags. Her brand Zilque was founded 5 years ago and Liesbeth’s bags can be purchased in exclusive fashion stores in Belgium and also online.
More of Liesbeth’s work can be seen on her Facebook page: www.facebook.com/ zilquebags
Dorothee has been creating with clay for more than twenty years, and after studying architecture realised life was too short to not make one’s dreams come true which is how Les Folles Marquises was born. Dorothee’s designs are handmade using polymer clay to create beautiful pieces of jewellery and a range of characters. Alongside creating jewellery to sell, Dorothee has also published a book – ‘Monstres et figurines en pâte polymère’ the book contains a step by step guide of how to make the pieces yourself, I would love to have a go but currently the book is only available in French, so I think I may have to brush up on my language skills!
And items can be purchased online for worldwide shipping via her website: www.zilque.com
More of Dorothee’s work can be seen on her Facebook page: www.facebook.com/ lesfollesmarquises
The great thing about Zilque bags is that you can assist to design the bag yourself, choosing your own colour, leather, bag size and strap length among another things. The designs are lovingly handmade and individual with the leathers sourced locally.
Items can be purchased via Etsy: www.etsy.com/uk/shop/lesfollesmarquises
Model: Aínoa – Saddle bag in high quality calfskin. Aínoa is a generous daytime shoulder bag with a vintage appearance. The bag has a semi-rigid exterior and lined interior. Aínoa has a flat, zipped pocket inside for documents and personalia. Available in two sizes: Aínoa (large): l 33 cm x h. 24 cm x d. 8cm), €290 Aínoa (medium): l 28 cm x h. 19 cm x d. 6cm), €245
Little Dolls Earrings Made with: shrinking plastic and sterling silver – €29.00 Checkerboard Ring Made with polymer clay and sterling silver – €45.00
Shabby Cow Shabby Cow is the creative output of Anne-Marie Stephenson and Alison Jennings who live and work from their homes in West Penwith. They like mixing text, colour, image and all things of oddness. I first came across Shabby Cow at this year Royal Cornwall Show where the ladies had displayed a collection of fabulous bags all up-cycled from a selection of vintage books. A few of the bags caught my eye and I really wanted to buy one. I spoke to Alison via email after the show who advised me that I could order my very own bag, made especially for me using a book of my choice. Having always been a Rupert find I hunted on eBay for a vintage Rupert annual, and came across a beautiful book with adorable illustration on the front and back cover. This was then sent to Shabby Cow to turn into my bag! 7 years ago, Anne-Marie Stephenson, a graduate with a background in Interior Design began the journey of Shabby Cow. By using decoupage on vintage furniture Anne-Marie created one-off pieces which she sold locally in Cornwall. In 2009 Alison Jennings joined her using decoupage and mixed media techniques to make jewellery and vintage inspired gifts. From the early days, Alison then introduced the line of book bags to utilise and revive her sewing skills. The ladies are inspired by all things vintage, and enjoy mixing text, image and colour. Being based in Cornwall, the products have a sense of place, using with inspiration from all around the coast taken to create each piece.
Every book bag is made individually since all books used are recycled vintage and therefore in different sizes, colours and styles. The pages of each book are removed and then the base is formed using other old books and fabric, feet are then added to the base of the bag. Alison uses small polka dot fabric to line the book bags, as it comes in such a wide range of colours, so the perfect contrast with the book can be found. Occasionally recycled fabric is also used, and the ladies are constantly searching second-hand and charity shops for suitable materials. Alison explains: “with custom orders it is all about fulfilling the customer’s wishes in such a way as to make them a truly unique bag which looks great for them!” The ladies say that surviving in the current climate and remaining good friends throughout the life of their business has been their greatest achievement to date. And they have many plans for the future, Alison states: “Ultimately we would want Shabby Cow to produce goods solely using our own designs from inception to delivery!” Book-bags are just part of the range, also available are wooden signs for the home, coasters and place mats, jewellery and accessories. Book bags such as those pictured are available at a cost between £25.00 to £45.00 depending on the particular book, and special ordered book bags can also be ordered for £45.00. Since ordering my bag and admiring the other book bags on offer, I contacted Shabby Cow to arrange a photoshoot with their amazing collection. We were extremely lucky to have a beautiful sunny day for our photoshoot at Newquay Harbour, and the highlight of the shoot for me has to be the appearance of one of the harbour seals, whom we managed to get into a number of shots (although I think he may have mistaken the bags for food!) The harbour provided some fabulous sets for the images which you see here, Courtnie one of our models even cheekily climbed aboard one of the fishing boats!
Bags can be purchased online via Shabby Cow’s website: http://www.shabbycow.co.uk/ Or in select local stores: Fearless in Port Isaac Crafty Maids in Penzance Avellana Crafts in Megavissey A Kick up the Arts in Torquay More of Alison and Anne-Marie’s work is available on Facebook: https://www.facebook.com/ShabbyCow Please contact directly for any custom bag orders: firstname.lastname@example.org
Photography: Lisa Parkinson at Kernow Dream Photography Models: Courtnie Slaney & Abbie Page Jeffs Book Bags: Shabby Cow Clothing: Silly old Sea Dog
Flashback to the Fifties Nicola Phillips of Daisy Rain Vintage The fabulous 50s: whether it be the brightly patterned prints or the beautiful silhouette created by a 1950’s wiggle dress, we seem to have an ongoing love affair with the styles of this era. This summer, as with last, has seen a resurgence of 50s influenced fashions. Fifties fashions have an almost fairytale -like quality. Britain was emerging from the constrictions of post war austerity and clothes rationing. Controversial at the time, Dior had introduced what was later coined the ‘New Look’ defined by nipped in waists and very full skirts. The overall effect was to create softer lines in contrast to the hard, austere look of the war years. As the decade advanced, we also looked to Hollywood film stars and American culture for fashion inspiration. All in all, fashions for men and women alike were fun again. So in celebration of a summer much anticipated and long overdue, it’s time to inject a little 50s fun into our wardrobes. This is easily achieved by choosing vibrant prints and adding some bold accessories. Mix it up (combine polka dots with geometric patterns or wholesome florals) to add a modern twist.
Tying a scarf at the nape of the neck or around the head will add a little Audrey Hepburn glamour to any outfit. Also very ‘Hepburnesque’ are cute Capri pants topped off with a gingham shirt tied at the waist. Alternatively, try a full skirt cinched in with a big belt and given extra volume with a frothy tulle petticoat underneath. As for accessories; cat’s eyes sunglasses and big floppy brimmed hats are great for those extra sunny days. And for the guys, a Hawaiian shirt and a panama hat (big on the catwalks this year) are must haves. White polka dot dress — £20 Gloves — £5
Paris café skirt — £22 Polka dot blouse — £8 Scarves — £3-£5 Sunnies — £5
Hawaiian shirt — £10 Lots of prints available. Panama hat — £15
All clothing is availabe from Daisy Rain Vintage. The Old Steam bakery, 60a Fore Street, Redruth, Cornwall, TR15 2AF
PHOTOGRAPHY BY EMMA GRIFFIN WWW.GRIFFIN-PHOTOGRAPHY.CO.UK
photographer julia mcintosh Capturing a great shot doesn’t mean having to have the best equipment! You really don’t need heaps of expensive equipment to get a great shot when it comes to capturing a beautiful portrait. Like many budding photographers just starting out, I too once made the mistake of thinking that if I had an uber expensive camera and a lens that cost me more than my car, it would make me a better photographer.
“I think it’s important to have fun while shooting portraits, it helps the model feel at ease, and it really shows in the final images! Here’s some from the shoot.”
But STOP right there because you really don’t need fancy gadgets and expensive equipment to capture a beautiful natural looking portrait. A few weeks ago I was fortunate enough to be joined by a friend (an editorial model) on a family holiday to Greece. At the last minute I decided it would be a great opportunity to get some images for the model’s portfolio and so we planned a small shoot. I really didn’t want to chance taking my professional camera and lenses abroad and decided that I would take the first DSLR camera I had bought. A canon 40d which I have not used for some years! I also didn’t want to weigh myself down with lenses and I opted for a small compact prime lens, my trusty 50mm. I also took my smallest reflector which is fabulous for getting the light exactly where you want it and for giving some nice catch lights to the eyes. Having found a fabulous location we set about shooting about an hour before sunset when the light produced a stunning warm glow. While our kids played on the beach we had fun capturing some gorgeous natural shots.
Model – Natalie Jayne Whear Location - Kefalonia http://www.juliamcintoshphotography.com
HOLLY HARWOOD Historic fashion & beauty My main passion and area of historical interest is women’s fashion and beauty from iconic eras throughout the twentieth century. Whilst I do enjoy the slightly geeky side of how clothes and makeup affected female roles and their sexuality... I must admit I do also just love to dress up in vintage attire! For lovers of vintage who live in Cornwall - we are very lucky! From growing up around Falmouth and studying for my degree in History at the University of Exeter’s Cornwall Campus, I have noticed a real change in the style of shops and cafés popping up. As students flock to study creative degrees at Falmouth University, Falmouth town is now especially vibrant with art and fashion.
As a child my Mum always dragged me into charity shops hunting for bargains, but now I happily spend ages rummaging to find unique, vintage items. Once you have found the perfect outfit you can also travel back in time for a vintage inspired evening at Dolly’s Tea Room & Wine Bar in the middle of Falmouth. Blitz parties and Great Gatsby soirées have proved to be extremely popular, so keep an eye on their website to purchase tickets for future events! www.dollysbar.co.uk
My favourite fashion era is definitely the 1940s. I am absolutely in love with wartime glamour and find their beauty regimes fascinating. For my undergraduate dissertation I used women’s magazines throughout this period, which made a lot of the staff at the British Library rather jealous! I thought I would share with you a snippet of my findings throughout a time when popular products were so scarce. During the Second World War women’s periodicals were full of advertising campaigns which slightly pressured women to remain as attractive as possible, and popular slogans like Iclima’s ‘Beauty Is Your Duty’ appeared everywhere. Most magazines during the beginning of the war advised women to not compromise their beauty or become too ‘manly’. Vogue magazine had a particularly strong opinion of women losing their femininity, and a feature in the November 1939 issue called “Thumbs Up and Thumbs Down” commented on how women were “letting themselves go” at the start of the war.
As the war intensified, priorities had to alter. Expensive beauty products decreased, so cheaper items were encouraged. Toilet soaps were more prominent and women were reassured that they were all that was needed to have beautiful skin.
Palmolive soap was particularly popular throughout wartime magazines and by picturing attractive, young women, it claimed to provide a “schoolgirl complexion” (my Nan used Palmolive every day of her adult life and did indeed have beautiful skin – so maybe this is the best kept secret?!).
It was very clear that at this time of urgency women did not forget about their beauty regimes, but the products used just became more imaginative. Some of the most influential fashions were introduced during this period: military styles, trousers, and onepiece siren suits to name a few. Due the popularity of the “Make Do and Mend” scheme, women also did not just accept boring and identical styles of clothing, but embraced a chance to finally experiment with fashion! If you would like to learn a little more about the fashion and beauty during this era please watch my short episode where I interview a former Vogue employee from this period, as well as the 1940s vocal trio The Three Belles; http://youtu.be/PSdu9DXA5jo (Filmed and edited by the wonderfully talented Kingdom & Sparrow; www.kingdomandsparrow.co.uk)
FASHION SHOOT OF THE MONTH Hair cut, coloured and styled by Keeleigh Jaqueline Remnant Photography by Anndrea Pennington Location scout and lighting assistance Matthew Facey Models Marc, Harry and Bobby http://www.andreapenningtonphotographer.co.uk/ http://andreapennington.tumblr.com/
The GARDEN GATE FLOWER COMPANY
With a backdrop of beautiful meadows of rainbow colours of flowers is Garden Gate Flower Company. They grow organic flowers for country bouquets and arrangements for weddings and special events. Whether you need flowers for a traditional, vintage or country style wedding, to perfect a design scheme, or you just want to cheer someone up, then they provide elegant but down-toearth gorgeous flowers to complement any occasion.
The location is any artists dream, with colour as far as you can see. Fashion and portrait photographer Emma Griffin and Bridal designer Annalise Harvey; used the venue as a backdrop to a recent bridal Fashion shoot. Not only was the venue used as a beautiful location, Emma and Annalise commissioned them to create bouquets and floral headdresses to go with the fashion shoot.
Becca and Maz created five floral crowns, three bouquets and a number of large floral arrangements. There was even vintage tea cups filled with wild flowers and even strawberries. After each of the floral crowns were made they were sprayed with water and laid in a wooden tray, ready for the models.
Images show one of the potting shed areas. A truley wonderful studio space full of fresh flowers. To view more on this amazing team of creatives please see: www.thegardengateflowercompany.co.uk
Some of the shots were planned in an open field, where Emma, the photographer propped up the area. This was a mixture of a table with vintage table cloths, wooden chest, and suitcases and two mix matched chairs. Becca and Maz then brought out an aray of floral displays for the photographer to place. Before each shot becca checked the flowers were in place at all times.
Gylly Beach Cafe Cliff Road Falmouth Cornwall TR11 4PA
Tel: 01326 312884 www.gyllybeach.com/
Open throughout the year the cafe is the ideal place to enjoy a coffee with home made cakes. Using the finest local Cornish ingredients try their lunchtime or evening menu. The service there is second to none with a friendly helpful group of staff. With a beautifully designed cafĂŠ the outside area is wonderful with amazing view of the beach. A truly pleasurable spot to check out!
FABULOUS OUR TOP 3 FABULOUS FINDS
Huge Glitter Bow Crown & Glory www.crownandglory. bigcartel.com –£20.00
Burger print cropped vest www.wild-pony.co.uk — £18.00
Buzzing Little Bees Baby Shoes 3 — 6 months. Available to buy exclusively online at: www.sosmallshoes.co.uk or www.mellybee.co.uk — £27 inc. P&P
KINGDOM & SPARROW
We caught up with the talented guys from Kingdom & Sparrow, a design studio based in Falmouth Cornwall. How did Kingdom & Sparrow start as a business? We had talked about setting up a company for years, but we were never quite sure what we wanted to do. After several late night pipe smoking sessions, we decided to put our talents together in illustration and photography and start Kingdom & Sparrow – a design company specialising in food & drink branding and packaging. The name came quite easy, as it is a combination of our alter egos, my full name being Daniel Kingdom Gradwell, while Jonathan’s little secret is that he is one of the world’s foremost Captain Jack Sparrow impersonators.
So we had the name and the desire, we just needed our first client. Lucky for us we met the chaps at the Rebel Brewing Company in Penryn, who were ripe for a rebrand. We took them from a small microbrewery, and transformed them into one of the darlings of the craft beer world, winning a design award on the way. What excites you every day about your work? I think that what excites us the most about work is working with your best mate, We have been very close friends for a good few years and we have just as much fun in work as we do out of it. Another thing that really excites us are the types of clients we work with. We are both big foodies and so far most of our clients have been mainly been in this field. Do you have any rituals to start your day in the studio? We don’t have any rituals for the start on the day, however come 5 o’clock, we slip on the gym kit and do about an hour of insanity workout, look it up, its great fun.
How do you see your business progressing in the future? We would like to be one of the premier design companies for the food and drink industry, as this is an area of design that is very close to our hearts. We also would both like to develop leadership roles and take on extra staff.
Who/what would be your dream client? We really enjoy taking people who have a fantastic product, and giving them the platform they need to push their business forward. We would like to take someone out of obscurity and make them a household name. Do you have any design heroes, who are they and why? We are constantly checking out what the big boys of the design world are doing, especially in the food & drink world. One of the companies that we aspire to the most are Big Fish, they are responsible for the branding of Dorset Cereals, and lots of other products that we enjoy. We also really like the work done by Stranger and Stranger, who produce amazing illustrative work for the drinks industry.
Your studio is clearly a visual representation of your personalities, how important is it to you both to be in a none traditional design space? The truth is weâ€™ve both had little experience in traditional design companies; we just designed our office how we would like to work. We spend a lot of time at work, so we wanted an environment that was comfortable, but also had space for all our vintage paraphernalia. Your dress code is something unusual to what clients would expect to see, does this in any way help your daily practice â€“ how do clients respond? As proper chaps we believe that the way we represent ourselves reflects our company ethos, hopefully showing our commitment to well placed, tailored design and a little of our chappish personalities.
PHOTOGRAPHY BY EMMA GRIFFIN WWW.GRIFFIN-PHOTOGRAPHY.CO>UK
creative apps chris thomas
Chris graduated from Falmouth University in 2012 and is now a freelance graphic designer working and living in South West Cornwall. This fresh faced youth sampled the bright lights and debauchery of the big smoke, but on reflection decided to stick around in Cornwall. And really, with so much going on, and so much to see and admire, why would you leave? The core aim of this feature is to show that inspiration can be fired up by the simplest of sparks. Mobile phone applications have become very ‘throw away’ with over 60% of all apps download being used only once prior to deletion. But while smacking a digital cat might lose its charm fairly rapidly, some apps are worth preserving. This collection of work was created using a single application found quite by chance in the darker regions of the app store. After uncovering it somewhere near the back (on its own, playing solitaire) and exploring what this 69p download had to offer, it soon became apparent that it had huge potential.
Shown here are just a few of the miniature worlds which have been created by Chris using this app. These stereographic photos are produced by generating a 360º panoramic image which is warped around a centre point, creating a spherical visual and planetary illusion. While the process is simple to do, the challenge lies in finding dramatic or recognisable vistas and viewing them with an entirely new perspective. The rough and ready nature of the app means that the images are imperfect; each one has its own set of idiosyncrasies, giving it a unique dimension. Although they have been collected with the simple intention of exploring a growing interest in this style of photography, their potential for development is clear. It’s also interesting to note that roughly two thirds of applications on the app store are never downloaded – so who knows what else could be buried out there! In Chris’s opinion, applications like the one utilised in this spread are in no way a replacement for a real applied craft, however they do open a world of inspiration which should be monopolised on.
MODEL / KATE ROWLAND AUGUST
PHOTOGRAPHY / EMMA GRIFFIN
SALLY ORCHARD How did you get into being a make up artist? From a small child I loved playing with my mum’s makeup. I used to wear a full makeup by the age of 10, which wasn’t that great then! I wanted to go to college and learn makeup, but in those days there wasn’t really any makeup courses, so I did a beauty therapy course as it covered makeup. I then got a job in a salon doing beauty, but I always did the makeup on the side. Through out my career makeup was always there, but never a full time job until now.
As a career, would you advise training, or is it possible to be self-taught?
What has been the most challenging brief you’ve worked to?
In this industry you can self teach, but I think it is useful to have a qualification especially to get insurance. I learnt’ a lot about makeup just by playing with it and working on different faces, but
I think most fashion/ editorial briefs are a challenge as I try and do different looks and push myself with using new products and techniques, but I would get bored otherwise. I do remember one shoot though that we had a horse with the model in a field of grass. It was a sunny day and the horse just wouldn’t keep his head up! It turned into a long shoot. Where do you find your inspiration?
What are your top three must have products in your kit? My staple products have to be my Mac eyeshadows. I know they stay on the eyes and the colours are fab. Mac face and body foundation is so useful in my kit as its a great foundation, plus you can use it on the body to tan legs or cover up minor blemishes. My last essential product has to be select coverup concealer by Mac. Its such a useful concealer as it can be used under the eyes, on blemishes and any marks on the face. Its a creamy consistency but dries matt so great for weddings.
taking a course will give you confidence in your abilities and help pick up tips from the teacher. How different is it working in fashion editorial and bridal? Being in Cornwall, bridal makeup is my main business, but its good to challenge myself and fashion/editorial makeup helps me step out of the natural look and try something new. I look at bridal in the same way as fashion/editorial in that its needs to look good both in real life and on photos.
Everywhere! I love looking at pictures on Pininterest and you tube have some good tutorials, but I try and not look at too many other makeup artists work as I want to come up with my own ideas. I am always looking for props in craft shops and fancy dress shops and looking at nature is very inspiring.
What brief has been the most fun to work to?
What key trend are you seeing for make up in 2013?
One of the most fun shoots i did was a sweety shoot. The model had sweets stuck in her hair, on her body and at one point she was lying in a mass of sweets, but they were slowly going down as we went though the shoot as everyone kept getting the munchies.
A massive trend which has come in this year is the 1920’s look. Vintage makeup seems to be staying for another year, but is diver sing from the classic 1940’s look to 20’s. The traditional 1920’s look is quite hard to wear but a more updated version can look amazing.
What is the one product worth i nvesting money in?
What do you find most rewarding about your job?
Foundation is the one product where it’s worth having a few in your kit to tailor different ages and skin types. I have just invested in a Kett airbrush system, which sprays the foundation on the face with air so its very light to wear and looks amazing.
I love how each week is different. I get to work in my lovely studio, but I also go out and about to beautiful venues around Cornwall. Being with a bride on her wedding day is such a privilege to share that time and to make her look and feel special is so rewarding. I meet so may lovely people from great photographers to hair stylists to models and my clients. I am so lucky doing a job that I love.
MODEL / HOLLY HARWOOD PHOTOGRAPHY / EMMA GRIFFIN
ON THE BEACH words and photography / emma griffin
A few miles from Falmouth in a wooded valley, is Maenporth beach. Maenporth is approximately 45 — 60 min walk from Falmouth town centre via the South West Coast Path that links it to Gyllyngvase Beach (2.5miles) and Swanpool Beach (2 miles). Excellent family facilities that include a café and car parking.
It’s the ideal spot to visit for a chilled out afternoon. Dog friendly in the winter and shallow waters, which makes it a perfect beach to swim. There is a mixture of sandy shores and rock polls so an ideal beach to find treasure!
book and music reviews by our readers and contributors
The Melancholy Death of Oyster Boy By Tim Burton Way back when Tim Burton’s wonderfully weird and darkly gothic films were still largely cult viewing (and not so keenly focused on the talents of Johnny Depp and Helena Bonham Carter) he produced The Melancholy Death of Oyster Boy. As you can probably guess from the title, this collection of 23 illustrated poems is about as warm and fluffy as Edward Scissorhands. But beneath the quietly sinister, and predominately fairly tragic, narratives there is humour, Burton’s characteristic touch of unexpected sweetness and the underlying theme of the importance of belonging. Each short verse focuses on one ill-fated or misguided individual, generally a child. These social outcasts face a range of particularly unusual hardships – such as having a head made of cheese...
‘Brie Boy had a dream he had only had twice, that his full, round head was only a slice. The other children never let Brie Boy play... But at least he went well with a nice Chardonnay.’ — Brie Boy Structurally the poems are remarkable only in their simplicity, many are just four lines long and follow either an AA BB or AB AB rhyming scheme. It is their unique content; powerful imagery and striking presentation that make them so worth reading. Burton somehow manages to make you laugh, think and feel a little unsettled all at the same time. The fantastically morbid fine-line illustrations accompanying each poem just scream Tim Burton (think the Nightmare before Christmas and Corpse Bride) and add a splash of colour to his dark humour. A word of warning however, although the illustrations and length of the poems might lead to you to assume that this text is aimed at children, its content is perhaps too adult and disquieting for the under tens.
In the Melancholy Death of Oyster Boy the deformed protagonists, from Stainboy and Junk Girl to The Boy with Nails in his Eyes, are so hyperaware of their own otherness that the reader is made acutely aware of the otherness within themselves.
If you thought the plot of Alice in Wonderland was fairly plausible, or if youâ€™re a fan of the works of Neil Gaiman, youâ€™ll love this. Review By Laura Parsons
No, we might not all be in a doomed relationships with matchsticks (as in Stick Boy and Match Girl in Love) but what Burton reminds us with this selection of very un-fairy tales is the importance of inclusion, and that while we all have our own demons to face they are much harder to take on alone.
NEWLYN ART GALLERY 05 / 07
FASHION SHOOT 08 / 07 88
MILLENNIUM GALLERY 26 / 07
s e t i B o i d Stu With Sylvia Mckiddie
Hello my dears! Welcome to another Silvia McKiddie recipe page. What a hot summer so far! So difficult to keep cool and composed. Here is my Silvia McKiddie tip for all you lovely ladies out there who are suffering with the heat. Sprinkle a few drops of Palmers Lavender Cologne, available in all good departmental stores, onto a cotton handkerchief and place in your bra. You will stay cool all day. I have been very busy my dears this last month, what an exiting time, all rush and go! My latest cookery video has been filmed. If you would like to watch this delightful production explaining the correct way to cook a Victoria Sponge, then please use this link http://www. youtube.com/watch?v=SZmcXI07a9g. We had such fun filming this, and I hope you will enjoy cooking along with Silvia.
This month we are going to bake one of my all time favourites, a Lemon Sticky Loaf. So here we go!
Preheat your oven to 180c/Gas 4. Line the base of a 900g(2lb) non stick loaf tin with baking parchment and grease your tin well. Grate the zest of the lemons and squeeze the juice into a separate bowl. Put 175g of the sugar into a large bowl and add the butter, flour, baking powder, eggs and lemon zest. You can either mix this together with a hand mixer or wooden spoon; or alternatively place all the ingredients into an electric mixer. Mix well until a thick smooth texture is achieved. Spoon the sponge cake batter into your loaf tin and level the surface. Bake for 34 to 40 minutes or until well risen and pale golden brown. If in doubt, place a skewer into the cake and if it comes out clean, the cake is cooked. Remove from the oven and let the cake cool in the tin for 10 minutes.
Ingredients 2 mediu m
well scr ubbed.
275g Ca ster Su gar 175g un salted b utter o baking r qualit margari y ne, plus extra t a little o greas e your l oaf tin. 200g Se lf-raisi ng flou r. 1/2 tea spoon o f Bakin g Powde r. 3 Large free ra nge egg s.
Add the remaining 100g of sugar to your lemon juice and mix very well. While the cake is in the tin, make lots of little Bye bye, until next month my dears. holes over the top of the sponge with a Sincerely yours skewer or sharp knife. Slowly spoon over the top of the cake your lemon juice Silvia McKiddie mixture. I like my cake sticky so I will drizzle up to four or five tablespoons of the juice mixture onto the cake. You can of course use less or more. Leave the cake in the tin for about another hour. This will enable the lemon juice and sugar to soak into the sponge from the top and sides. After the hour has passed, the cake can be carefully removed from the tin. Donâ€™t forget dears, to take off the baking parchment. This Lemon Sticky Cake is delightful on its own or with a spoonful of ice-cream or double cream. It also goes very well, my dears, with a good cup of tea or a gin and tonic. Well, there you are I hope you enjoy this monthâ€™s recipe. Please pop over to see my cookery video. I think you will agree that class and expertise are the only two words to describe it!
IMAGES BY GRIFFIN PHOTOGRAPHY
Lou Tonkin Textile Artist & Printmaker www.loutonkin.com
Published on Aug 1, 2013
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