Interview with sand, ice, pumpkin sculptors and large scale artists Sand in your Eye

I’m busily supporting Enjoy Redcar & Cleveland // Redcar & Cleveland Council’s Christmas events programme – this is the second year in a row, I’ve supported this festival programme! Really loving working with them and most importantly, they are investing money into culture, which I LOVE.

The next headline event is this Saturday (11th December) in Redcar town centre – Redcar Ice trail; a winter walkabout wonderland a day of frosty fun, festive pop-up performances await, amazing ice sculptures by Sand In Your Eye along Redcar High Street and Esplanade and live ice carving.

I absolutely adore Sand In Your Eye – I first became aware of them when I worked on Pages of the Sea in 2018 and they created large scale sand illustrations of North East World War One veterans on Roker Beach and Redcar Beach. Pages of the Sea was a unique event to mark 100 years since Armistice and the end of the first world war. Across the UK and Ireland communities gathered on 32 beaches to say a collective thank you and goodbye to the millions who left their shores, many never to return. I was in awe at their creations and then went on to discover they created large scale land art, sand sculptures, ice sculptures and many things in between.

Credit: Sand in your Eye & Pages by the Sea – Photographer: Kevin Scott

Reconnecting on this Redcar Christmas event, I thought I’d take the opportunity to get to know Sand In Your Eye better and do a little Culture Vulture interview…..and I have MANY questions, like how does someone become a ice sculptor!?

So let’s go and do it…..

Hi there Sand In Your Eye….can you introduce yourself?

We are an arts company based in Hebden Bridge, West Yorkshire. We make ice sculptures, but we also make sand sculptures, land art, sand drawings and in October you can find us carving pumpkins.

Credit: Sand in your Eye

Tell my fellow Culture Vultures about Sand in Your Eye – what is it and how did it start?

Sand In Your Eye started nearly 20 years ago, when our Director and lead artist Jamie Wardley was on holiday in Norway; he met a sand sculptor and was asked if he wanted to have a go! The answer was yes, and this began a career as a freelance sculptor working with sand and ice. Eventually Jamie started his own company and developed more ways of making art with lots of artists joining Sand In Your Eye, including Jamie’s wife Claire. We now work across the UK on events throughout the year. 

Credit: Sand in your Eye

What are you bringing to Redcar on 11th December? What can families expect to see by dropping in 10am-6pm on the day?

We are bringing a Christmas themed ice trail; people can explore Redcar town centre to look for them along Redcar High Street and Esplanade. Families can also write a letter to Santa and post it in our ice post box, watch live ice carving of Santa’s sleigh being made on Redcar High Street and also lots of walk about theatre and pop-up performance.

Credit: Sand in your Eye

Tell us about your ice sculptures and sculpting ice?

Depending on how big the sculptures are, they can take between a day to nearly a week to make and we make them in a freezer in our studio. The big sculptures can last for a few days, but the smaller ones usually melt after a day. Ice is really fun to work with, but you have to use very sharp tools including chain saws so you have to be extremely careful!

Credit: Sand in your Eye

How does someone become an ice sculptor? What tends to be the career path?

There are lots of different ways of getting into ice sculpting; the Sand In Your Eye team include people who started off as artists, woodworkers, gardeners, designers and all sorts. The thing that unites them all is that when they were asked if they wanted to have a go – they said yes.

Credit: Sand in your Eye

Your sand sculptures and sand drawings are amazing – can you tell me about a recent favourite?

We do a lot of work that is to do with the environment. In the last couple of years, we have made a sand drawing portrait of a girl from Ethiopia for WaterAid, a land art portrait of the activist Greta Thunberg, a climate emergency themed pumpkin trail, a sand sculpture of a turtle, and a personal project appealing to world leaders ahead of the COP26 climate conference to halt climate change which saw children and families helping to make a giant sand drawing and ice sculptures of children on a beach.

Credit: Sand in your Eye

Can you tell me about your Pages of the Sea involvement and project?

We were contacted by 14-18NOW, the Imperial War Museum and the director Danny Boyle to coordinate and design Pages of the Sea, which commemorated the centenary of the end of the First World War and saw over 30 faces of servicemen and women who did not return to our shores appear on beaches around the UK (including one on the beach at Redcar) on the 11th of November 2018. It was a very moving, exciting and an important project to be a part of. We were thrilled that it won several awards, including the Sky Arts South Bank Visual Award.

Credit: Sand in your Eye & Pages of the Sea – Photographer – Mark Richards

Thoroughly deserved! Your pumpkin carvings are amazing – how long do they take to do?

Pumpkin carving can take anything from a few hours to a couple of days to make; we do a wide range of styles including 3D spooky and silly faces and more complex pumpkin etching. We do them for pumpkin festivals and trails as well as for companies for their Halloween social media. They can last for up to five days after they are carved.

Credit: Sand in your Eye

They are very Instagrammable….as is all your work! Your work and installations bring people together in public spaces, folx and families who may not engage with art in galleries– how does that feel? Is that an important element of Sand In Your Eye?

Yes, very much so. We love doing our workshops and showing people of all ages how to sand sculpt or carve pumpkins but our largescale artworks such as sand drawings and land art can also engage with communities and bring people together.

Credit: Sand in your Eye

Do you have artists/sculptors that specialise with specific materials? Or do members of your teamwork with all of them?

Everybody has a go at making all the art – it’s a real team effort.

Tell us about the workshops you offer – they look really fun and such a unique offer?

We do workshops in most of our art forms; sand sculpture, pumpkin carving, ice sculpture and sand drawing. Most often children and families take part, but our workshops can be for all ages. We started off doing sand sculpture workshops on the beach, but we now have sand tables – this means we can bring the beach with us, wherever we go, and people can learn how to sand sculpt wherever we go. We’ve done sand sculpture workshops in towns and cities, shopping centres and even inside castles.

Credit: Sand in your Eye

What’s been your Sand In Your Eye 2021 highlight so far?

The COP26 sand drawing and ice sculpture project was a very personal one for us and it was great to involve so many children and families.

Credit: Sand in your Eye

What’s in store for 2022 – anything you can tell us about? 

It’s all top secret so far but there will be lots more sand art, land art, sculptures and pumpkins. People can follow us on social media to find out what we get up to. We are on Facebook, Instagram, Twitter and YouTube. (All handles are @sandinyoureye).

Credit: Sand in your Eye

Well thank you Sand In Your Eye……..the images in the blog post kind of speak for themselves really – their work is just show stoppingly amazing! You can check out Sand In Your Eye – Ice Sculpture Trail this coming Saturday in Redcar Town Centre; perfect for families in Tees Valley! For full event Redcar Ice Trail listing visit HERE

Mulled wine, mistletoe and memory-making – speaking of memory making, there is a lot to look forward to across the towns of Redcar and Cleveland this year! For the full calendar of events visit HERE

Credit: Sand in your Eye

Artist Interview with Darlington’s Meg McWilliam – the council estate princess creating art that is both “inspiring and infuriating!”

The world feels like a black mirror episode across multiple fronts and yet, it all feels so normal now. I see and read things in the press and on social media, and for me, sometimes it doesn’t even cause outrage; it just feels completely normal. And I’ve never felt more disenfranchised and disempowered from our world politically, socially, emotionally and in my values.

@megmcart work

One of the biggest things that I personally struggle with, is the concept of individualism and appreciating what that actually means. For many, individualism seems to mean, valuing their personal and perceived rights above all else; their voice must be heard, alongside the advocating for the fallacy of their lived experience being the same everyone else and that we all matter equally. But for me, individualism is about respecting, valuing, advocating and wanting to understand others as individuals and treating them as….you guessed it, individuals!  It means really digging deep into individual needs, expressions of self and lived experiences that are entirely different from mine! The former is selfish and is at the expense of other people’s individualism, and the latter, is just about actually valuing individuals, as individuals. To me, that just makes sense – if you value individuals, then you value all individuals as individuals and respect differences. I get locked in an infuriating loop!

I also really question convenient collectivism; we group people together because we are humans and social creatures – I get that! But for me personally, sometimes grouping people together, removes the emotion and understanding that in grouping people together, we start to forget we are talking about real people…..individuals. And sometimes, grouping people together is based on how we perceive them and stereotyping, as opposed to how they would describe themselves and their own lived experience.

This is something, that time and time again, I just don’t get. And I completely see the irony of advocating for folx to look at the world in a different way whilst also, being firmly grounded in my own view. And sometimes, especially outside of the arts and culture sector, I step into spaces or go on the Daily Mail app, and realise, that there are SO many people that dismiss people, think their “rights” top trump everyone else’s, are so full of hate and don’t even come from a place of togetherness as humans and “what about us?”, and especially not from a place of understanding privilege and “what about them?” and instead, from an unrelenting place of “what about me?”.  It is so fucking depressing.

So, one of my ways of combating this black mirror episode, we’re all living in, is of course through art! And where, I might sometimes look out into the world and not always feel my view, is a shared one, within my Culture Vulture bubble it is and my love of socially engaged art on Instagram, means it’s a joyful escape and home. One such artist is @megmcart on Instagram; activist, artist and all -round good human, using her work to inspire social change and instigate discussion. Not that age is a big deal, especially in the artwork, where it is entirely meaningless, but I am so inspired by the confident of her artistic and political voice at 20 years old. It took me until approaching 30, to be as sure of where I stood and to not shy away from political topics.

@megmcart work

Meg’s work from my perspective is all about protest, social commentary, feminism, colour and collage……. it’s like my utopia in this dystopian nightmare that we are all currently living in. If you want work that is about challenging the Tories, advocating for working class artists, celebrating feminism, sticking two fingers up to the patriarchy, shouting that gender is a social construct, campaigning for the safety of women and against sexual violence….. well, this lasses work is for you and is done in a perfectly satirical way. Her work makes me smile, I am counting down until she secures a large-scale exhibition because this work needs to be seen by the masses and OF COURSE, I did a little Culture Vulture interview with her………

So here we go, listen up folx and met @megmcart

@megmcart work

Hiyer, so for my Culture Vulture faves, let’s start with a little intro?

Hiya I’m Meg; I’m a 20 year old artist from Darlington, in the North East creating my art which is most commonly known as Megmcart and I’m also currently a fashion student at Northumbria university.

Can you describe your practice?

I specialise mostly in Dada collages which are either satirical or camp…or both! I like to express my anger through collage about socio-political issues. I find it very overwhelming sometimes when the news is all doom and gloom, so art really helps me let all of my frustrations out as well as spreading information. I think politics can be very confusing to understand especially if you’re a visual learner like me; understanding it shouldn’t just be an academic, middle-class privilege so I try and make it accessible through my work.

@megmcart work

Oh I hear you! Tell us about your journey into the arts?

I’ve always been very creative; I think that’s down to my mam. She’s always encouraged me to be creative even when I was in secondary school and told by a careers advisor that I needed to reconsider what I wanted to do in the long run as it was “hard” to get a job in the creative industries. I almost nearly re-evaluated my life and did criminology but my mam near on forced me to do fashion as she knew I’d enjoy it better.

You have such a powerful style and an aesthetic – how did that develop? 

I had a lesson at sixth form on Dada (Art movement formed during the First World War in Zurich in negative reaction to war) and I just fell in love with it. I think from that point forward, I just developed it as I grew as a person because I was very young when I started this. I was 18 when I started posting my art onto social media and now, I’m 20 so it’s grown with me.

@megmcart work

Do you plan your pieces? 

Rarely. If I have an idea for typography or a snappy slogan, then I write it in my notes and my notes app is full of various ideas that I’ve either done or are there to inspire me. Most of the time I start with a blank canvas and go a-bit mental. Dada is about being random, so I don’t like to overthink it too much or I’ll just doubt myself.

Tell me about your piece Council Estate Princess? 

One day I had said a passing comment around the lines of “I’m such a council estate princess” on an Instagram story and apparently people hadn’t heard of that before?! My mams always called us council estate princesses for as long as I could remember, and it’s always been part of my vocabulary.

To me now, it kind of reclaims that working class label of “council estate” because some just think of negative connotations when thinking of council estates; such as “chav” or high crime rates when, in fact, I wouldn’t change where I’m from for the world. It’s taught me to be street smart but also a sense of community and empathy. On that piece I drew a lot of inspiration from my childhood but also made it colourful and positive because I only have positive memories of where I’m from, even if it was hiding from the provvy woman. AND half of the piece is actually a photo I took on 35mm film of the estate I grew up on.

@megmcart work

Where do you get inspiration for your work?

Usually the news, my upbringing and the drag scene. The drag scene especially helps me as I’ve met so many inspirational queens since studying at Northumbria. The artistry is just so interesting and beautiful. I love that nothing is taken seriously because I don’t take myself too seriously.

You’re an activist and an inspiration to me….where do you get your energy?

Usually from anger and frustration, I get so annoyed at the Tories; I can’t really process or deal with it unless I make some artwork. My mind simply can’t comprehend why anyone would support a party that’s so against people’s human rights.

@megmcart work

That was like nectar and I’m the same…..I also think folx are almost in a weird state of Stockholm Syndrome! Your work is pretty political – what do you say to folx who say art shouldn’t be political?

Grow up. Art is supposed to provoke emotion whether it be sadness, anger, joy etc. I’m very much aware of the fact my art isn’t everyone’s cup of tea but my art is here to inspire and infuriate. It’s not a successful art piece; if it’s not provoking a range of emotions.

Completely agree! What’s your relationship with Tits Upon Tyne and why are movements like this important? (I’m a hugely passionate supporter of them!) 

I first met Tits Upon Tyne in February last year and we very much clicked. We both want similar things and hold a lot of the same beliefs. The founder is very passionate about Tits Upon Tyne and their cause which really is inspiring. I think it’s so important for women creatives to really have a platform that is safe and won’t exploit them as they focus on getting to the destination they want to be; Tits Upon Tyne is doing just that in the music sector. Also, I really enjoy the creative aspect of the work I do for TUT, I’m doing something I love for a good cause.

@megmcart work

Tell us about what happened in Darlington town centre and your work being uncredited?

Basically, in my art foundation year I was told by the market management we would be all making a piece for the new market and 3 winners would be chosen, credited and posted on social media. Looking back on it now, it was free artwork for them in disguise of “exposure”. I didn’t hear back about it apart from one email from my teacher in June saying I’d won, and the market would be in contact.

At around the end of August still no one had contacted me so I just forgot basically. Later I was walking through the market and was very shocked to see my work on display without any credit, despite what I’d been promised as a winner. I emailed quite a few times and didn’t hear back but due to my social media campaign and an article by the Northern Echo, the management finally credited me 5 weeks later.

@megmcart work – the uncredited Darlington piece

Not crediting artists is something painfully common; how did that feel as an artist – to have your work uncredited?

It was very disheartening; as an artist I do rely a lot on commission work so getting my name and work out there is kind of a portfolio for me. Some of the comments on the article were also disgusting and mostly by the older generation which I’m not too surprised at, as in the past similar age groups have disregarded my work as vulgar (which is the point).

@megmcart work

Tell us about three artists that my fellow Culture Vultures should check out? 

  • @Haydnb_photograpy is an amazing photographer in the Newcastle drag scene; I’m absolutely obsessed with his work.
  • @Sally_tomato_x is one of my biggest inspos and has been since I started my account nearly 2 years ago.
  • @ghead_tra who also inspired my political work.

Oh – I love all three. Hoping to interview all three in the feature. What’s your dream artist collab?

I really want to do work for more zines; then I can collab with a multitude of artists, as I couldn’t just narrow it down to one and I always love finding new talent.

@megmcart work

I could see you and Sally playing with each other’s styles – which would be fun! Do you have any advice to future creatives? 

If you hate it don’t do it! I think if you aren’t enjoying what you’re doing, then you won’t be successful or happy. I’m lucky to enjoy what I do but if I’m not enjoying it or I’m tired then my work really does suffer.

Learning to say no, is on my 2022 personal development list! I know the year isn’t over yet, but tell us a highlight of 2021 so far? 

I think stocking my work in Treasure, (a shopping centre in Darlington). Before this year, I sold most of my work online and didn’t have a lot of support from people in Darlington or they didn’t really know about me or my work, so it’s been nice showing my hometown what I’m up to.

@megmcart work

Darlington has a special place in my heart (one of my best pals lives there) so I love that! Thinking of the future then, what’s coming up for you? 

I’m currently producing spiking mats with Tits Upon Tyne, which bars/entertainment venues have to qualify as a safe space to purchase. I think a lot of venues are using spiking mats as a temporary plaster to a situation and really aren’t thinking about what they can do in the long run and what measures can be put in place to protect people.

@megmcart work

That’s a big topic there and yes, many businesses love a bit of performative action and virtue signalling as opposed to actually putting in the work to hold REAL safe spaces. Anything else you want to tell us about?

Just keep an eye out because I have a lot of confidential projects in the works at the moment.

@megmcart work

Well thank you Meg – you are an absolute inspiration and I love your work. I’ve got some ideas for a commission – so can’t wait to chat more with you! Please check out Meg’s work and give her Insta a follow! Her grid is beaut and basically has the message of “don’t be a dickhead” which is a life rule, that I can firmly support!

You can check out Meg’s work on her website HERE.

You can also purchase your own anti spiking mat from HERE for your own personal use and safety.

Tits Upon Tyne Spiking Mat

(#AD) Middlesbrough Art Weekender; an eclectic mix of creative, festival lushness happening across Middlesbrough until evening of 3rd October // Interview with MAW co-founder Liam Slevin.

I’ve got a pure culture vulturing weekend ahead – it’s time for Middlesbrough Art Weekender, 30th September – evening 3rd October. MAW is the North East’s biggest contemporary art festival and it’s taking over Middlesbrough for the next few days to serve a whole lot of art from homegrown Teesside talent and beyond. Attending a festival like this is a great way to support artists (supporting artists can be as simple as checking out their work!) and galleries and indie venues; alongside enjoying a real eclectic mix of creative lushness.

I’m heading to MAW on Saturday (2nd October) and a feast of more than 50 artists showcasing their work via exhibitions, installations, immersive experiences, performances, workshops and activities inspired by Middlesbrough’s industrial heritage across Middlesbrough awaits.  I will be sharing my experience across the day on my Instagram stories – so feel free to check them out via @theculturevulturene

After Warsama by Dominic from Luton
Image credit – Dawn McNamara

Middlesbrough Art Weekender is free to attend, family-friendly and accessible. The full programme is available at www.middlesbroughartweekender.com so you can get planning your visit – so if you’re in the North East of England, why not join me in some culture vulturing and visit too!? Top tip though, based on my previous year’s visit, I recommend plotting your route pre-visit so you can make the most of your time at MAW.

Ahead of my visit, I’ve had the pleasure of catching up with MAW festival co-founder, Liam Slevin, to get the full low down about it all and for some vulturing suggestions. I wanted to do this interview with Liam in 2019, so I’m thrilled it’s finally happened; so let’s get to it and hear from Liam.

TRANSMIT, TRANSFORM, TRANSLATE by Stephen Hurrel
Image credit – Stephen Hurrel

Hi Liam, can you introduce yourself for my fellow culture vultures, peers and pals?

Hi, my name is Liam Slevin; I am an artist-curator originally from Ireland and living on Teesside for just over 5 years now. In that time, I co-founded the Middlesbrough Art Weekender and am now its Creative Director. I programme and run the festival alongside my partner Anna Byrne and Kypros Kyprianou

Liam Slevin

Tell us about your journey into creative industries/arts?

I studied Sculpture and Combined Media at Limerick School of art & design back in Ireland. I finished my BA just as the recession was kicking off and Ireland was devastated by it. Recession can be opportunistic for artists, and I was lucky enough to be part of a collective that opened up a gallery. That was the start of my journey……

For those, that don’t know or haven’t visited before – what is Middlesbrough Art Weekender (MAW)?

The tag line is a multi-site contemporary arts festival happening across the town of Middlesbrough but it’s a lot more. The creative energy that’s happening in Middlesbrough right now, is amazing and it’s great to see it all explode over one weekend of the year.

We Walked Out of the Wilderness by John Ayscough

Why did you start MAW? What was the inspiration behind it?

I think everything should be a festival! MAW is an opportunity to platform and profile a festival full of artists, creative work and venues.

Quite right too! Tell us about this year’s weekender? What can folx expect?

We have a jam-packed programme of exhibitions, workshops (for all ages) projects that include Virtual reality works and a live lava pour.  This will happen across the following venues, The Auxiliary Project Space, Pineapple Black, The Masham, MIMA, Platform A, Gilkes Street Studios, Basecamp and a number of pop-up spaces along Albert Rd. Make sure to check out our programme page for what’s happening, venues and timings.

Keep Your Distance by Peter Hanmer

Can you tell me your #5 MAW programme highlights?

#1 Working with the estate of Gordon Matta Clark has been an absolute highlight. Jessamyn Fiore (estate co-director) has been so generous with her time and knowledge.

#2 The restaging of artist Russ Walker 1986 Degree show. The process of the re-creating and restaging of the work, alongside all his original documentation has been a really beautiful piece of work to be involved in.

#3 The Navigator North produced public works are all amazing, for the weekender they are putting on Stuart Langley’s Beating Heart and Dominic From Luton’s massive wall Mural. Two pieces that are impossible to miss!

Beating Heart Middlesbrough by Stuart Langley
Image credit – Ashley Foster

#4 Jo Lathwood’s performance and ladder drawings. Jo did a performance a few weeks back out in Darlington and she was amazing. Speaking passionately and engaging about rocks is quite the skill.

#5 Anna Ridler; a lovely contemplative take on Tulip mania mirrored with current crypto currency obsessions. 

Anna Ridler ‘Myriad (Tulips)’ (2018) Photo credit: Emily Grundon

How did you go about programming /curating the weekend?

The festival is curated by myself and Kypros Kypraniou. We start with a basic word or sentence as a jumping off point.  We then tap into what’s happening nationally and internationally. This year’s theme is Infrastructure. We’ve all been through a wild 18months and the different infrastructures or lack thereof, have been very evident; MAW programme this year is a way for us to make sense of what’s just happened and how we can move forward. 

This Trust Idea by Andrew Wilson

Tell me about the art trail? Can folx do that any time across the weekend?

Of course! The art trail is there is give people the best overview of the festival and what’s on offer. The art trail kicks off at The Auxiliary, from there folks are invited to meander over to Albert Rd, taking in a number of public art commissions along the way. On Albert Rd, we have 5 pop exhibition spaces, and this is where the main festival exhibition is housed.

DYAD

Advice to folx who haven’t attended MAW before? Where should they start?

Head into town, to a participating venue, grab a programme and jump in. Staff and volunteers will be on hand to answer any questions and point you in the right direction.

Tell me about The Dorman Long Tower Reimagined – A Virtual Reality Experience? That’s going to be so surreal as it was recently demolished……

We’ve been planning a project at the Dorman for a while now, so when we got word it was earmarked for demolition we had a lot of groundwork done for this VR project. For MAW, we’ve reimagined the Dorman as a contemporary art gallery and commissioned three very different exhibitions to take place in a virtual reality experience of the Dorman Long Towers interior and invites you to come and explore. The tower has been transformed into a VR contemporary art gallery, created by artist Iain Nicholls with assistance from Ste Bruce and Connor Clements.

Bobby Benjamin

I invited local artists Bobby Benjamin and David Watson to recreate a show that they have done through Dovetail Joints. They present traditional painting with a post-industrial town narrative. US artist Birch Cooper also exhibits hyper-realistic sculptures that can only be experienced in VR worlds, while new arts space WetDoveTail showcase their studio holders through digitally created 2D & 3D works.

Birch Cooper

For folx who want to stay out a little bit later across MAW and have some bevs – where would you recommend going? What’s on?

On Friday and a bit more arty, we’re working with local legends Bobby Benjamin and John James Perangie for a Picasso Baby x MAW collab. That’s on at Disgraceland and Gordon Dalton’s road move, filmed across the A66 is happening at Pineapple Black. On Saturday night, it is to Basecamp where Mouses will be making a racket. Mouses are one of the first bands I saw when I moved to Teesside; I think it was Stockton Calling 2016 and I’ve loved them since.

ESTATE at Platform Arts Centre Easterhouse Glasgow – Image credit Coulson & Tennant

How would you describe Teesside art scene right now?

Something that is coalescing into something beautiful

Boro Through Time by Sofia Barton
Image credit – Dawn McNamara

Any Teesside artists that are up and coming, that you want to tell me about and profile?

Loucey Bain, she’s great and is doing some amazing work.

What’s next for you after MAW?

Back to Auxiliary work; we’re changing how the space runs and are opening it up to other curators etc to run the programme. It is also grant writing time for us so there’s always that excitement!

Oh I hear you…..how can folx keep up to date with you and the festival?

@middlesbroughartweekender

Build Bridges by Teresa Poulton

Thank you Liam – you’ve really whet my appetite and I’m really looking forward to the weekend ahead. Check out my Instagram Stories (@theculturevulturene) across the day to follow my MAW Saturday visit or better still, why not join me and VISIT!? Get plotting and planning your route via: www.middlesbroughartweekender.com/programme and you can download the programme via: https://buff.ly/39ciuaq

Interview with Olga Prinku artist, maker and creator of the craft of flowers-on-tulle embroidery

I’m always curiously envious of people and artists with attention to detail and patience as attributes within their work. My process brain with some concentration can be like that (to a point), but my creative brain loves the whirlwind of mess, freedom and all things abstract. I’ve never been able to make and create pretty things which when I was more of a perfectionist, used to drive me crackers but now, I have too much fun in the process of creating and bless the mess!

But I still envy the ability to create pretty and precise pieces of art work. And if I was thinking of an artists, that embodies pretty and precise, then Olga Prinku is just that. Olga is an incredible artist, that has become famous for her flowers-on-tulle embroidery; she uses natural materials and flowers to create gorgeous 3D embroidery pieces stitching flowers into the work. Olga’s pieces are magical, thoughtful, makes you smile, and the time, effort and care put into her work is obvious.

Olga Prinku’s work

I saw one of Olga’s collars in a magazine a few months ago. Yes, she does flowers-on-tulle embroidery on clothes too – they look amazing – but more on that later! And from there it was devouring Olga’s Instagram which is a little piece of digital heaven. So, I was delighted when I found out that the folx at Make & Mend Festival 2021, were working with her and exhibiting her work, so I’ve had the pleasure of getting to know her a little and they say, never meet your heroes, well, Olga is just the nicest human. I love it when good people, do well!

Olga Prinku’s work

So of course, you know what’s coming next – I HAD to interview her, and this is a lush interview – so get ready to fall in love with Olga and her work.

Hi Olga, so for my fellow Culture Vultures, let’s start with an intro!

Hi, I’m Olga Prinku – I’m an artist, maker and creator of the craft of flowers-on-tulle embroidery. I’m originally from the Republic of Moldova and I now live in North Yorkshire.

Olga Prinku

Tell us about your journey into creative industries and the arts?

I did a degree in graphic design as a mature student, then I worked on branding for a small design agency and layouts for an interior’s magazine. I’ve always been interested in making, and during my degree I took classes in everything I could find, from screen printing to upholstery.

When I took a career break to start a family, I learned how to knit and I started to sell chunky woollen Christmas stockings on Etsy. I set up an Instagram account originally to promote those stockings, which I would style with Christmas decorations such as home-made wreaths. The craft of flowers-on-tulle embroidery grew out of that hobby of wreath-making.

Olga Prinku’s work

Why is creativity important to you?

I find it incredibly satisfying to come up with an idea that I don’t know if I’ll be able to realise, and then to experiment and tinker until either I have to give up on the idea or I achieve it in a way I’m happy with. It’s great to produce something that’s pleasing to look at, but it’s the creative process of trial and error that really attracts me.

Olga Prinku’s work

For those that don’t know or just indulge me, what is “flowers-on-tulle embroidery”?

It’s embroidery using nature as my thread. I use stretched tulle fabric just like traditional embroidery, but instead of conventional thread I embroider with dried and preserved natural materials such as flowers, grasses, berries, leaves and seed heads.

Olga Prinku’s work

How did you get into it – what was the beginning or the spark?

One day I was using a garden sieve – the kind you use to get stones out of soil – as a frame to make a wreath, tucking some branches into the metal grid to hold them in place. It occurred to me that I could do the same with flowers and tulle fabric. I started posting pictures of my experiments on my Instagram account, and to my surprise and delight they really became popular.

Olga Prinku’s work

For folx new to this craft or curious, what would your advice be?

It’s a great craft to get into if you’re looking for a way to slow down and centre yourself. Dried flowers are delicate and it’s easy to break them if you’re trying to rush or you’re not entirely in the moment. That’s frustrating initially but it’s also an invitation to take some deep breaths and be patient, and then I find I can enter a state of flow when hours go by without me noticing.

Olga Prinku’s work

It looks like a mindful craft and even to look at – your pieces are calming. Now onto something not so calming, social media – you have a HUGE Instagram audience – how does that feel?

It’s not something I ever imagined happening to me, and I’m very grateful to the Instagram community for guiding me on my creative journey. I find it hard to imagine that my flowers-on-tulle embroidery could have taken off like it did if it hadn’t been for Instagram, because the positive feedback on my early experimental posts gave me encouragement and seeing which posts did better than others helped to guide me on where I should focus my next experiments.

There’s always a danger that you get too sucked into Instagram and it starts to take over too much of your time. But it has definitely opened a lot of doors for me, for example, collaborations with fashion brands and having my work displayed in galleries.

Olga Prinku’s work

I like that Instagram has the power of democratising opportunity! So let’s chat Make & Mend Festival, what was your contribution to Make & Mend Festival 2021?

I brought some of my favourite works to display – I started out doing freestyle designs in embroidery hoops, and since then I’ve also done more formal compositions in canvas stretcher frames, so a combination of different pieces displayed.

Olga Prinku’s work at Make & Mend Festival 2021 – photo credit Clare Bowes.

What’s it like people see your work at events and in exhibitions?

I’m always very nervous about meeting people in person! But it’s great to be able to talk to people who are encountering the craft of flowers-on-tulle for the first time, because then it’s Iike I can get to see what I do through fresh eyes.

Olga Prinku’s work at Make & Mend Festival 2021 – photo credit Clare Bowes.

What do you hope people take from your work when they view it or see it?

I hope people see it as a way to combine creativity with reconnecting with nature. Developing the craft of embroidering with natural materials has really opened my eyes to aspects of the natural world that I had previously overlooked. For example, appreciating the beauty of some flowers that would usually be considered as weeds, or seed heads that I previously wouldn’t even have seen as I would have deadheaded the flowers before they could develop.

I forage for some of the materials I use in my work, and on my country walks I’ve become much more attuned to the changing of the seasons, noticing what grows where and when.

Olga Prinku’s work at Make & Mend Festival 2021 – photo credit Clare Bowes.

Can you tell me about your fashion collabs? I want one of your collars!?

Ever since I came up with the idea of embroidering using dried flowers, I’ve been fascinated by the idea of making wearable items. One of the step-by-step projects in my book is creating a Peter Pan collar with preserved flowers. Of course, the challenge is that the flowers are delicate and not resistant to water, which means you have to be very careful when wearing it and check out the weather conditions J.

I also enjoy collaborating with fashion companies to translate the design ideas into traditional embroidery using thread. I’ve designed a range of shirts with my friend Ruth Eaton, and there’s a new collection just coming out with the Canadian menswear brand 3PARADIS – I was taken aback to log into Instagram not long ago to see Justin Bieber wearing a jacket with my design!

Olga Prinku’s work at Make & Mend Festival 2021 – photo credit Clare Bowes.

Your work was featured by Kirstie’s Handmade Christmas – can you tell me a little about that?

One of the ways you can use a dried flower embroidery hoop is as a creative topper for a gift. A couple of years ago Kirstie’s Handmade Christmas came to my home to film me making a hoop, which they then took back to the studio. It was my first experience of being on TV and it was fascinating to learn how it all works.

I understand that the episode I was in will be repeated this year. There’s also a Christmas-themed project in my book, using flowers-on-tulle techniques to create a tree decoration.

Olga Prinku’s work at Make & Mend Festival 2021 – photo credit Clare Bowes.

You mentioned your book – tell us about it? Where and when can folx purchase it?

It’s called Dried Flower Embroidery: An introduction to the art of flowers on tulle, and it’s published by Quadrille. Due to shipping delays the publication date has been pushed back to September 30. But it’s available for pre-order right now in all good bookshops!

Olga Prinku’s work at Make & Mend Festival 2021 – photo credit Clare Bowes.

And what’s next for you?

I’ve just finished filming an online tutorial with the craft platform Domestika, which should be available soon. And I’m finalising a limited initial edition of kits, which contain all the materials you need to make a floral embroidery design in a hoop, together with step-by-step instructions. So I’m excited to be launching that.

I’m hoping to get back into in-person workshops, too, if the pandemic recedes. I’d been planning a week-long workshop retreat in Tuscany which I was almost ready to announce just as the first lockdown hit. I hope that gets to happen at some stage!

Olga Prinku’s work

Oh that sounds so lovely! How can people keep in touch with you?

I’m @olgaprinku on Instagram, and my website is prinku.com. The best way to keep in touch with me is through my email newsletter, which you can sign up to on my website.

Olga Prinku’s work

I really recommend checking out Olga’s work and take some time to appreciate the sheer beauty and skill that goes into each piece. It was just breath taking to Hey, may be one day – I will own an original Olga wearable piece – if I ever went to the Met Gala, I’d absolutely ask Olga to design my outfit.

Interview with Matt Jamie – we chat theatre, current production Pod, podcasts, music videos & Bedlington Terriers.

I’ve had the pleasure of working with director, actor, videographer, photographer and creative Matt Jamie….well for a good few years now on various projects! As is with the weirdness of the world – we’ve never actually met in person. I met him digitally as a videographer, but like many freelancers, has a never ending bag of skills and tricks like Felix The Cat.

I was delighted to be invited to support Matt’s current production – Pod; Matt is the Director. Pod is a brilliant theatre production that tells a brilliant contemporary story. This play has been in the making for some time – the initial run was cancelled due to the pandemic and I’m thrilled it is getting the space it deserves to connect with audiences. And I’m so excited to see it – it is the first production of the Alphabetti Theatre new season and it is my first time back in a theatre, actually watching a play for pleasure!

Pod is about a family gathered together, sharing more than just a cramped camping pod and a bottle of gin.  Secrets are revealed and they find answers to questions nobody was expecting to be asked.  Audiences will feel uplifted, moved, amused and ready to visit the bar! Pod runs from 31st August – 18th September at Alphabetti Theatre; Pay What You Feel tickets available now via: www.alphabettitheatre.co.uk/pod

It has been a privilege to champion Pod and get to know some of the Pod creative team – some old friends and some new creative peers! It has also been brilliant to get to know Matt better professionally too and as my jam is all about championing and celebrating creatives – I thought it was the perfect time for a little Culture Vulture blog post.

So without delay – an interview with Matt Jamie!

Matt Jamie

Hi Matt, let’s start with an introduction!

I’m Matt Jamie – I trained as an actor (actually I trained in Biomedical sciences first and ditched a PhD to go to drama school…sensible move?) – but now I work mainly as a theatre director, photographer and film maker, and producer of audio work.

Very sensible decision! Tell us more about your journey into creative industries?

When I was studying sciences, I joined the theatre group at university (Bradford University Theatre Group at Theatre In The Mill which is now an excellent fringe venue) and got the taste for it there. I’d always enjoyed theatre but never imagined working in it.  I then got a job and PhD placement doing research into diabetes but alongside that was pursuing places at drama school – figured if I didn’t get a place I’d carry on and now I’d be Doctor Jamie.  Instead, I’m now working in the arts in the North East!  I spent 13 years in London working mostly as an actor (some terrible commercials and music videos exist online) and an actor’s headshot photographer, with occasional dips into directing, before moving to the North East and taking on more production / direction work.

You’re a theatre maker, director, actor, film maker and a podcast/audio drama maker – that’s quite a rare mix….can you tell me a little bit about that? Are you like me and just refuse to be pinned down into one thing?

Working in the arts its useful to diversify.  I’ve been lucky enough to find other jobs which are connected to the arts but also possible to earn money from! (For a while in London I did work in a call centre selling theatre tickets…).  At one point I was an actor / photographer / film maker / composer / graphic designer / director.  I figured it was time to streamline a bit into the things I was more skilled in or enjoyed more.  I usually go with some kind of hyphenated description, depending who’s asking.

Tell me about your theatre company Coracle? How and why did it start as a company?

Coracle began in London; I came on board as a film maker for their first piece of development work at Battersea Arts Centre – a sort of abstract physical dance piece created by my friend Lucinda Lloyd.  Then Sarita Plowman joined Lucinda on a course at the City Lit and they wrote a short piece of text which eventually we developed into Coracle’s first full production “Bird Of Pray”.  It was a mix of theatre, movement and film and really one of the darkest things I’ve ever worked on as far as content went – some people walked out of the show, as it was so much…! But it was well received and went on to the “Branching Out” Festival in London.  We then all took some time out pursuing solo careers until I formed Coracle North East with writer and actor Arabella Arnott in 2017 – with more of a focus on new writing (though I might come back to more abstract / physical / multimedia work in the future).  You can see some clips of Coracle’s early work on our website.

Matt Jamie

Coracle highlight project so far?

We started in the North East with a double bill of plays, called “Trajectory” including Arabella’s first full length play “Life After” and a short by Steve Byron called “Bricks and Mortar”.  This was our first collaboration with Alphabetti Theatre as Coracle (though I’d been involved in various things before).  It was also the last play to perform in Alphabetti’s old venue on New Bridge Street before it was demolished!  We then had the pleasure of bringing the first play to Alphabetti’s new venue on St James Boulevard with “Overdue” by Arabella – which won Best At Fringe (North East Theatre Guide) and was nominated Best North East Play (British Theatre Guide) as well as five star reviews.

Tell us about your personal career highlight so far?

I was very proud of the work on “Overdue”, but probably appearing in the music video for the 2004 remix of “The Key The Secret” – which reached I think number 187 in the charts, probably no thanks to the video – was my finest hour / 3 minutes as an actor.

That music video is just BRILLIANT. Music videos used to be so good…..Anyhoo – how did your relationship with Alphabetti start?

I think I first directed a reading of a play at The Central which Ben Dickenson was organising.  He then introduced me to Alphabetti Theatre, and I can’t actually remember what the first thing I worked on there was.  They used to run an event called “Soup” which was a mix of short form pieces and I directed several short plays for them there, and some reaction plays which I really enjoyed.  Artistic Director Ali Pritchard also cast me in “Continuum” – which was a terrifying experience (I was playing a man who had a head injury and basically talked non-stop for 60 minutes in rambling nonsense, and we only had 6 days rehearsal.  The scene changes were only marked by the lights shifting between the bed and the two chairs but the lighting desk was faulty so it would regularly skip cues and we’d have to guess what scene we were in.  One night I skipped an entire scene with some fairly crucial plot information in it.  Spent the rest of the play wondering if any of it would make sense…

Pod at Alphabetti Theatre, Newcastle

There is something so magical about lo-fi theatre though – I bliddy love ‘Betti! What is the context of your relationship now?

Coracle is an associate company of Alphabetti and has been involved in some of their new writing programmes.  I also do freelance work for them producing trailers, audio description work and producing audio plays.

Why are theatres like Alphabetti important in the region? To audiences and to our sector?

Alphabetti is the only “Fringe” venue in Newcastle and has a unique place in the arts scene making art/theatre as accessible as possible – keeping tickets almost entirely ‘Pay What You Feel’.  Also the nature of the space and the way it’s staffed means people who love theatre and people who might never go to the theatre will all feel at home there.  And the unique talent and personality of the Artistic Director, Ali Pritchard are a big draw.

You’ve mentioned your audio play work….tell us about Playstream? Why should folx check them out?

Playstream is Coracle’s podcast which is home to our audio drama work.  A lot of our work is accompanied by ‘reaction pieces’ – responding to the themes of the production we are working on – and these have often taken the form of audio work or been recorded for audio after they’ve had a live production.  Our new production “Pod” is accompanied by some audio drama pieces, including plays written by Alison Carr (well known in the region for her writing) and Claire-Marie Perry.  Also worth a listen is Wendy Erringtons “Saluting Magpies” which is a longer – form drama which was originally due to be produced at Alphabetti but became an audio drama because of the pandemic.  Degna Stone’s “Probably” – is “a sharply written monologue on age, race and fear” (The Stage) and is another strong piece we recorded after she performed it alongside our 2019 production of “Down to Zero” by Lizi Patch.

Podcasts and audio plays had a huge upswell across the pandemic – what podcasts // audio plays were you listening to?

I’d been listening to “RadioLab” for a long while and it’s always excellent – a mixture of current affairs, science and tech but not in any way dry and as dull as I just made it sound!  I really enjoyed the drama serial “Homecoming”, and for pure stupidness, Bob Mortimers “Althletico Mince” should be listened to whenever normality takes over.

Now I’ve brought up the pandemic topic – I may as well ask, how has freelance life been for you across the pandemic?

Like everyone else most work took a nose-dive when the pandemic hit.  Arabella and I had just done the dress rehearsal for a play directed by Alex Elliott and then theatres were closed the next day – and we were about to start rehearsing for “Pod” (originally due in May 2020).  I managed to keep some work as a voice artist (audiobooks and other bits and pieces going) since audio recording was one of the few things still possible remotely.  I’m happy to be getting back into actual buildings with actual people.

Happy you’re still with us as a creative freelancer! Right, so tell me about Pod? What is it? What is it about?

“Pod” is a play about a family coming together for a weekend away in a camping Pod.  The mother, Iris, and two grown up daughters Rose and Daisy are there to celebrate the birthday of husband / dad Geoff, who is sadly no longer with them.  Along for the trip is Dan, married to Rose and he’d rather be training for his marathon than being in the middle of the sometimes tense family dynamics.  It’s about dealing with grief, about family secrets, about identity and forgiveness… but it’s also very funny! Daisy thinks she knows something about the family she hasn’t been told… she’s also got something to tell them.  But it turns out there are more secrets under the surface which come out over a few gins and some cake.

I love the character Daisy – from the snippets. She feels very familiar. You created and cast pod before the pandemic? What is the process like bringing something back after all this time?

It was difficult to have to put the production away, not knowing when or if it would ever see the light of day.  Happily we’ve now got a three week run coming up.  We’ve had some time with it to get back into the swing and polish it – it’s been great!

Kylie Ann Ford as Daisy at Alphabetti Theatre

And as we speak – it is open for a run at Alphabetti Theatre until 18th September!?

Amazingly we’re actually now programmed for longer than the original run would have been if the pandemic hadn’t hit – so we’ve got the luxury of three weeks.  There should also be online screenings available too at some point.

You directed the piece – for folx not familiar with theatre, what is the role of the director? What did you do as director on Pod?

Theatre is a very collaborative process between the actors and director (and designer and writer).  My role as the director is to give some kind of shape to the piece – in some ways literally: finding ways to make the play work on the stage, where people should be, how the scene works best and makes most sense.  Alphabetti is actually quite a challenging space to direct for with the audience on both sides so it’s important often to keep the action moving on stage so everyone can see.  As well as those more physical elements the director also is the outside eye on the piece in terms of pace, tone, where the highs and lows of a scene might work best… the ‘journey through the play’ and so on.  A lot of the ideas will come from the actors and the text, and I’m really there to fine tune things – I suppose a little like a conductor if you’ve ever watched an orchestra: just lifting bits here, changing the pace there and so on.  In many ways with a piece like this ideally the audience shouldn’t really notice the directing.  If the play flows well, and the story is told and people have a good time that’s my job done!

David Raynor as Dan and Pod writer Arabella Arnott as Rose in Pod at Alphabetti Theatre

Interestingly a lot of the themes of the play – really resonate with the pandemic so lots of folx will be able to relate – being stuck together with family, unexpected conversations, tested relationships, heightened emotions?

Yes, we wondered coming back to it if we’d need to add anything in or take anything out to make it work “post-pandemic” but everything seemed to fit surprisingly well.  Even the whole set up of a camping trip made sense in the scheme of things. We’ll be interested to hear how people relate to it.

What do you hope audiences take away from the show?

We hope people will find the play funny and moving – it’s about coming together through difficult times and finding common ground with wildly differing views… something people might be familiar with! 

Why should folx go and see it?

It’s a great night out, a fun and relevant play with a great cast of North East actors, at an excellent venue and it’s Pay What You Feel so what’s to lose!?

Kylie Ann Ford as Daisy and Judi Earl as Iris in Pod at Alphabetti Theatre

After all this time and working on it – how do you feel sharing it with audiences?

Very excited to share this with audiences after all this time.  The set looks amazing (we’ve built an actual camping pod!) and the performances will be top notch.

And what’s next for you? Next project?

What’s next is a complete unknown.  There are a few projects we’d started to look at back in 2020 which I’ll dust off and see if we want to produce them in 2022.  Meanwhile I’ll be carrying on the many-hyphenated jobs I do for other people’s plays and productions!

Where can audiences keep up to date with you? And your work?

More about coracle on www.coracleproductions.com.  Our podcast is on all podcast platforms and our website – search PlayStream wherever you normally listen.  And if you’re looking for a director, photographer, film maker or audio creator, head to www.mattjamie.co.uk

Anything else you want to tell me about?

Bedlington Terriers are excellent dogs. I recommend them.

Strong dog choice – good to know. As someone who has worked with Matt – absolutely thoroughly recommend him for everything he listed above.

I am really excited to see Pod and will be sharing what I thought on my Facebook page – so keep an eye out! Pod runs from 31st August – 18th September at Alphabetti Theatre; Pay What You Feel tickets available now via: www.alphabettitheatre.co.uk/pod

Interview with Badmind – we chat music, live streaming, Kanye West and keeping creative collaborators close…..

I’m working on a gorgeous project at the moment with Polestar Music Studios in Newcastle, spreading the word about their fantastic studio, facilities for musicians and bands to practice, develop, record and perform (in person and digitally) their music… it’s an amazing privilege to work on and I have the pleasure of chatting to and discovering new music from the hottest, upcoming talent in the region.

It’s lush because I tend to get in a total music rut – listen to the same stuff and genres, and I just don’t have the time to seek out new music. So it’s a joy to step into a project, that gets me listening to new music! One such musician is Badmind….I discovered them through Polestar Studio’s Polestar Live Sessions – a programme of live music gigs, streamed directly from their studios to Polestar Facebook page.

Upcoming Polestar Live Sessions.

Badmind is an urban duo from Newcastle, made up of singer / songwriter Dayna Leadbitter and producer / drummer Jaimie Johnson; they’ve been setting the regional music scene alight with their soulful pop sounds over the last 18months.

Last year, they released their first single out into the pandemic, making waves with their polished pop; fast forward to now and everyone wants a piece of them and the whole North East music scene is buzzing about them. And it’s not hard to see why – they’ve racked up more than 230,000+ streams, been added to Spotify’s New Music Friday playlist, named in BBC introducing’s top tips for 2021 and representing the North East at Radio 1’s Big Weekend. Their new song, Flaws & Phases marks a new chapter for Badmind and I am so along for the ride! 

Badmind are performing tonight (12th August) at 7.30pm, so feel free to check in and watch with me, but, if you miss it – the live stream gig will be pinned to the top of the Facebook page for a week, so if you’re reading this just after the 12th, you’re in luck! But before, I rush off to watch their live streamed gig, which is going to be a corker, I thought I’d share this little Culture Vulture interview I did with them so you can get a flavour of what they are all about, why you need to check them out and so much more.

So over to you Dayna…..

Right, hiyer! Let’s go…. introduce yourself for my fellow Culture Vultures?

Hi, I’m Dayna and I go by the name ‘Badmind’. I write songs and sing them live when the world isn’t locked down haha!

Tell me about your adventure into music and how did you meet your producer and drummer Jaimie?

My Dad has been singing and playing guitar to me since I was young, so I knew from an early age that I wanted to sing and do music. I started off wanting to do musical theatre but as I got older, I realised I wanted to be an artist and write my own songs. I met Jaimie when I was 18 and we’ve been writing together since then.

Dayna and Jaimie

How would you describe your music?

I describe my music as somewhere between Lo-fi, R&B and Pop but tend not to be too worried about genres; I just make music I’d like to listen to.

That’s a good way to think about it! You say you take a DIY approach to your music, but what does that actually mean?

Basically, everything is made in house; I work with a small team (myself, Jaimie, Stu & Jimmy) and together we do everything from writing, production, videos, imagery, branding and live performances. I like to keep a small circle of people I trust.

Dayna in studio

I really love that and that way you keep ownership and autonomy too! Can you tell me about the 7 releases across 2020? That must have been an epic under-taking!

I had all of the singles pretty much finished before I launched Badmind. I knew 2020 was going to be a development year and a way to introduce people to what Badmind is and to carry that on into 2021. BBC Introducing (Nick Roberts & Lee Hawthorn) have been a very important part of building the project and have helped with so many important opportunities for me.

It’s a great achievement to be recognised by Nick & Lee, so quickly – you clearly have proper talent and it’s a joy to watch you perform, so I can totally see why they fell in love with Badmind. What was it like to feature as part of BBC Introducing?

It was such a surprise, Nick Roberts called me over zoom and gave me the news. It was crazy especially with it being so early into my career.

Dayna – BBC Music Introducing

Aww that’s lush! Your music is such a blend of different genres and sounds – where do you get your inspo from?

There are far too many artists to list but I think my favourite would be Kehlani, it would make my life to do a track with her.

I love Kehlani – I’m an avid unashamed Halsey fan and that’s how I got into Kehlani.  Have you done much live streaming?

I’ve done a few bits here and there during lockdown, it is great fun and looking forward to the Polestar Live Session #4. I also looking forward to playing to audiences live again.

Dayna – Badmind

What can people expect from your Polestar Live Session?

I’m going to be playing pretty much all of the songs we released in 2020 including my new single ‘Flaws & Phases’ and I’m going to give a couple of unreleased songs a test run, so it’s a bit like a world premiere for that and first chance to listen to them.

What’s the live stream vibe going to be like?

Positive and fun vibes always; I love playing with the band it’s always a vibe!

Why should folx tune in?

What can be better on a Thursday evening?? Haha.

Dayna – Badmind

Oh absolutely – Thursdays are the new Fridays! Tell us what you are listening to right now?

I’ve been going back over old Kanye West albums recently they’re soooo good. Also been enjoying Jacob Collier’s work too.

Oh Kanye – I agree, I didn’t really appreciate them like I do now, when they first came out – they kind of passed me by a little. But love them! Can you tell us about any North East musicians you recommend checking out?

To be honest I’m so out of what’s going on locally I’m not too sure what’s been going on locally. Looking to change that over the next few months with gigs starting to come back.

Dayna in studio

Thanks for your honesty! Before working with Polestar Studios, I’d fallen out the loop so I hear you! Let’s chat the future….what’s next for you folx? what you working on?

I’ve got a new single coming very soon which will be followed by a run of singles till the end of the year. I’m hoping to get 4-5 singles out by the year’s end.

Wow – woman on a music mission – love it! Do you have a vision of a moment that you’d sit and think- “wow we’ve made it!”?

When I can pay the rent / mortgage with money earned from my music.

Dayna – Badmind

Very pragmatic answer! I’ve got my eye on a Dan Cimmermann painting that is £10K + – when I can afford that, then I will know I’ve made it! (haha!) So, highlight of 2021 so far?

I’d say getting the Radio 1 Big Weekend slot; that was crazy and hope I get to play more festivals.

Miss festivals and I hope you play more too – would love to see you play a festival….Anything else you want to tell us about?

Head over to Spotify to listen to my music and give me a follow on my socials to keep up to date with what’s coming up!

BOOM – thanks Dayna! All social links below and remember, Badmind are performing tonight (12th August) at 7.30pm, so feel free to check in and watch with me, but, if you miss it – the live stream gig will be pinned to the top of their Facebook page for a week, so if you’re reading this just after the 12th, you’re in luck and you can still experience their live performance!

Connect with Badmind:

Insta: @badmindmusic

Facebook: @badmindmusicuk

Twitter: @badmindmusic

Tik Tok: @badmindmusic

SoundCloud

Spotify

Interview with North East upcoming musician Lizzie Esau; live streaming, song writing as therapy & indie pop.

I’m buzzing to currently be working with much -loved corner stone of the regional music industry, Polestar Studios on their run of live streamed Polestar Live Sessions; celebrating and showcasing North East musicians and bands and their pandemic resilience.

Polestar Studios has been supporting the North East music scene to make great music since the early 90s. Nestled on the edge of the Ouseburn Valley, Newcastle, this rehearsal and recording studio in Byker, was established in 1990 by Pauline Murray; singer of iconic punk band Penetration. Thousands of bands and musicians have used the facility in its long history.

I’m supporting Polestar Studios on their run of Polestar Live sessions, high production quality live streamed gig featuring the hottest grassroots’ North East music. I have the benefit of getting to know and interview all the brilliant musical talent, who are making waves regionally, Nationally and many Internationally in their niche too.

Tonight’s live stream gig is the turn of North East singer-song writer Lizzie Esau and her band, who are set to serve an alt-pop set with beautifully honest lyrics. Lizzie’s music has demanded the attention of not just regional music lovers, but also record labels, producers, DJs, festivals and BBC Introducing. Her latest single ‘What If I Just Kept Driving’ got me through the most Monday of Mondays this week and came to Lizzie in a matter of minutes. With its’ Lo-Fi Bedroom pop vibe and major chords, the song juxtaposes the highs of the music with the lows of the lyrics.

Polestar Live Session – Lizzie Esau

Lizzie’s live stream will be centre “stage” at 7.30pm tonight (Thursday 15 July) on Polestar Studios Facebook page and I can’t wait. It’s free to tune in but you do have the option to donate – all donations go directly to the artist, who is of course being appropriately paid, but a donation to a musician after the year they’ve had, really means the world and supports them get back out there.

So, in my quest to champion Northern talent and brilliance, I thought I’d nab Lizzie for a little Culture Vulture interview and find out more about her career so far, ambition and her music writing inspo! Let’s get to it, here is Lizzie Esau!

Lizzie Esau – Photo credit: Victoria Wai Photography

Hi Lizzie, right let’s get to it – can you introduce yourself for my fellow Culture Vultures? Who are you?

I’m Lizzie Esau, a singer songwriter from the North East.

Can you tell us about your journey so far into the music industry?

I’ve always written little tunes and melodies ever since I can remember, probably from the age of around five or six. It’s something I have always had as a part of my life which for many years fell into the background but across the last three years something changed, and I decided to prioritise what I love and take music seriously.

Through connecting with my manager a few years ago I have now been able to make some great contacts in the industry and had the chance to work with other artists as well as releasing my own music in the last year, which has been so fulfilling.

Lizzie Esau – Photo credit: Victoria Wai Photography

How would you describe your music to someone who hasn’t listened to it before?

My music is a fusion of everything I love and that interests me. If I had to describe the sound, I’d say it’s a hip-hop alternative/ indie pop with honest lyrics and real instrumentation.

Where do you seek inspiration? What’s your music writing process like?

I’m mostly inspired by everyday life and the stresses and joy that it can bring. My writing is very reflective and as cheesy as it sounds, I often use it as a way of therapy which I’m sure is something other creatives can relate to.

The writing process normally consists of a random idea floating around in my head for a while which comes together as a song after sitting at my piano and on logic for a while working out new melodies and parts to the track. After my demo is created the song will then be sent off to the producer I’m working with right now, Steve Grainger, who elevates the track, and then after a bit of backwards and forwards discussion, the track is ready to go out!

Lizzie Esau – Photo credit: Victoria Wai Photography

Who is in your band? How did you pull them together/meet them?

The drummer Alex and I got in touch via social media quite a few years ago and he became part of a band that unfortunately faded out. After connecting with my manager and doing some solo gigs to throw myself into performing, I then reached out again just before the pandemic to create a new band around the music. As soon as we were able to, we started rehearsals again around the new tracks and Alex brought along the bass player Joe who fitted into the band so well being a great friend of his. We have had a few people stand in as guitarist during the time we have been playing together, who have all been such great musicians, and hopefully one day a permanent position will be filled. I feel so lucky to be able to have such professional and dedicated musicians as part of this project and we just can’t wait to get out and play live now!

Lizzie Esau – Photo credit: Victoria Wai Photography

I love your new single, ‘What If I Just Kept Driving’ ; tell us a bit about it? (It’s available to listen to now on all streaming platforms)

The new single is an indie pop track about escaping from the stresses of life through the act of performing mindless activities. The idea for the track came about when I was driving (hahaha!) and all came together very quickly; form the writing process to the production.

The music is lively and upbeat which I think is a nice contrast to the honest and more downbeat lyrics describing how I was feeling at the time. The choruses are a little more positive and talk about getting help for these life stresses, putting more of an optimistic spin on things.

I love the video – where did the concept come from?

The video concept came from the director, Sel Mclean, who took into consideration so well who I was as an artist and the style of things that would work best for the track. I loved his idea to have skateboarders there and to have it by the beach at sunrise, I think the whole thing came together so well and everything for the releases seemed to really work together. The whole team were so amazing and made my first ever professional video shoot experience so enjoyable and memorable.

Lizzie Esau – Photo credit: Victoria Wai Photography

The song really speaks to me about the noise of modern life and using driving as a means to escape, self-care and freedom; this is such an important thing in the current context of the pandemic. How have you found the pandemic as a creative?

Just before the pandemic is when I really started to be proactive and get myself out playing solo shows and writing more, so when the pandemic hit it was very disheartening, as I’m sure it was for all creatives especially ones just starting off. But through this time I have connected with my wonderful band and started collaborating with many artists as well as writing more than I ever have before, so in many ways it allowed me the time to put everything into music which I really loved.

However, that doesn’t take away from the fact that this pandemic has been so hard on everyone and that no one is alone in feeling like they have had low points, but I’m glad to see us coming out of it all now! (fingers crossed Haha!).

How did tonight’s live stream gig with Polestar Studios come about?

This gig came about due to the bass player, Joe, being in contact with them and therefore when an opportunity came about to play there, we were all really keen to get involved and get the songs out there for more people to hear!

Lizzie Esau – Photo credit: Victoria Wai Photography

What can people expect from your Polestar Live Session tonight at 7.30pm via Polestar Facebook page and why should people tune in?

You can expect to hear lots of new unreleased music, perhaps even a sneak peek at upcoming singles as well as a cover, which I never tend to do but I couldn’t resist with this one! I will be with a full band on the night so expect big sounding tracks and lots of energy! We can’t wait for it!

Why are organisations like Polestar Studios important to the North East music scene?

I think they’re so important! They give up and coming artists a platform to share their music to a wider audience, especially since they stream the gigs via social media which enables anyone to be able to discover new music. It’s great to have such supportive organisations that enjoy promoting artists and love to watch them succeed; without this so many people would go undiscovered!

Lizzie Esau – Photo credit: Victoria Wai Photography

How do you feel about live streaming gigs? Why are they important?

I think it’s so important to adapt and carry on regardless in any way that we can, so to see so many live stream events and socially distanced performances is so reassuring that music can still be shared no matter what. I think especially in the times we have had, music is so vital to keep everyone’s spirits high and keep optimistic.

How does it feel to be getting featured by BBC Introducing? (It has been ace to hear you on the radio waves!)

It feels so amazing! The support I’ve had from BBC introducing ever since putting out my first demo onto Soundcloud in 2018 has been so wonderful and everything I’ve uploaded has been shown so much love by them! I really loved doing a session for BBC introducing in the North East around my debut official release ‘Young Mind Run Blind’, this was something I have always wanted to do and to do it around my first proper release was really amazing! From then on, every single was so amazingly promoted by them with my third and most recent release being played on radio 1 introducing as Gemma Bradley’s tip of the week meaning all the local radios around the country played it also which was so crazy to hear!

Lizzie Esau – Photo credit: Victoria Wai Photography

What do you think of the North East music scene?

I think the North East music scene is such a supportive space and everyone loves to see one another do well and get to where they want to be. There is so much amazing talent around right now and so many people getting National radio plays which is so amazing to see! Just looking forward to getting out and seeing all of these band and artists I have discovered in lockdown live now!

Who on the scene do you admire/should I check out?

I’m really loving so many artists form the North East right now I think everyone is really thriving! Off the top of my head I’m loving Nadedja, Jodie Nicholson, Martha Hill, Georgia May, Luke Royalty, Future Humans and so many more!

Lizzie Esau – Photo credit: Victoria Wai Photography

Good selection of people there! Can you share any advice for aspiring folx wanting to get into the music industry?

I think my biggest piece of advice is to connect with as many people as you can and to be good at networking, or like I did find a wonderful manager who is great at it, hahaha! I think as soon as I started reaching out to people to collaborate and venues to play at is when things started happening, so just remember to always be proactive and keep writing as much as you can!

Highlight of 2021 so far?

My 2021 highlight so far has to be hearing my new single ‘What If I Just Kept Driving’ on radio 1! It was so surreal as I always have I on in my car so to hear my own music getting played on my favourite radio station was just the best feeling and has already led to some exciting conversations and interest from new listeners!

Lizzie Esau – Photo credit: Victoria Wai Photography

Do you have a moment in mind/visual moment, when you think – “I’ve made it!”?

I’ve always dreamed of headlining Glastonbury or playing on the main stage, I’d definitely know I’ve made it then! But to be honest just playing anywhere at Glastonbury would be such a great feeling for me, and I think the day I see a load of people I don’t know in a crowd singing my lyrics back to me will be so surreal and I’ll know I’ve made an impact on them for sure!

So, what’s next for you?

I have so many new tracks, ideas and possible collaborations happening which makes me so excited for what’s coming in my career! I think the next thing you’ll hear from me will be a bit of a surprise so keep an eye out! I’m also playing live lots and I really hope to continue that and grow the amount of people listening to my music as we move out of the pandemic!

Lizzie Esau – Photo credit: Victoria Wai Photography

Anything else you want to tell my readers about?

Yes! Lots of gigs happening soon! I am particularly excited for the Cluny on the 23rd of July which is an event with Urban Kingdom and Generation W where I’ll be playing alongside three other amazing female artists. I’ve also got lots of gigs lined up in September including my debut headline show on the 18th at Head of Steam in Newcastle with the band which we are so excited for! As well as this, I’ll be playing a few exciting support slots so make sure to check out my socials to find out about it all!

Lizzie Esau – Photo credit: Victoria Wai Photography

Well thank you Lizzie and if you can, make sure you check out her live stream tonight at 7.30pm from Polestar Studios Facebook page!

You can also connect with Lizzie via:

Instagram: @lizzieesau

Facebook: @lizzieesau.music

Tik Tok: @lizzieesau

SoundCloud

YouTube

Spotify

Interview with artist Wild Lamb – Paige Livingstone – let the lass eat cake!

There is nothing more exciting than finding out that two of my favourite artists are collaborating and doing something lush……Slutmouth and Wild Lamb Illustration have been collaborating in the most perfect way over the last few months.

Slutmouth – Bettie Hope; Love her beyond words and her work – I’m a total Instagram fan girl over this lass. Her mixed media work explores sex, sexuality, gender inequality, identity, queerness, feminism, rejection of societal taboos in a really playful, empowering, interesting way. I’ve interviewed Bettie before and you can read that HERE!

Slutmouth – Bettie Hope’s work at Let Us Eat Cake at Pineapple Art Gallery

Wild Lamb – Paige Livingstone; I discovered her work as always, via the good old ‘gram! Her work is a fierce visual treat, bold, colourful, collage, illustration, exploring portraiture in such an iconic way and her style evolves – her work like Bettie’s, has a touch of expect the unexpected. In Paige’s artworld, any and all folx identifying as women can be and are icons! At least, that’s what I feel looking at her work. Oh and she loves cats. So….. winner for this crazy cat lady.

Paige Livingstone

So Slutmouth and Wild Lamb have been collaborating together on a project called Let Us Eat Cake and is all about celebrating and exploring all aspects of what it means to be a “woman” and of course, all the wonderful female identifying creatives in our lovely North East.

The project was supported by Teesside’s lush creative gallery space Pineapple Black and took the form of an online exhibition, which was just fantastic. I sat down to take it in thinking about 30mins would do it, and 3hours later, I was still sat looking at each piece and looking up the artist. The digital exhibition featured work from local, National and International female identifying artists and visually explored contemporary issues important to and effecting women today. The digital exhibition was Pineapple Blacks most popular online exhibition with over 1000 virtual visitors – that’s an amazing figure! You can view the digital exhibition HERE.

They’ve now launched the physical Let Us Eat Cake exhibition at Pineapple Black and it’s available to view from now (started on 25th June) until 23rd July (last day). And I couldn’t recommend it more! This new physical exhibition, featuring some different work to the online exhibition, includes local, national and international female-identifying artists of a working-class background, is underpinned with the passion and purpose to create an empowering platform and to inspire a new, forward-thinking generation of artists.

Let Us Eat Cake exhibition poster

The exhibition and wider project title is, of course, a play on the phrase commonly attributed to Marie Antoinette; Let Them Eat Cake, which signified how disconnected she was with the realities of the everyday people in her power. What I took from this exhibition connected with that symbolic moment; that many, when they think of feminism or women, are so unaware and disconnected from the gender inequality that exists across the full intersection and the contemporary issues that impact women.

I had the pleasure of reading some research recently, in which male business leaders, expressed views that gender inequality was not an issue and that women were treated “the same” as them. Such sweeping statements, very much, reminded me of that Marie Antionette “Let Them Eat Cake” moment…..

What Let Us Eat Cake does so brilliantly in this exhibition, is invite you to step inside the world of women, celebrate it, connect with it, engage with intersectional issues and see the world through the individual artist’s lense. It’s also an empowered cry/demand to be seen and this exhibition, provides a platform for that and for each artist to be celebrated.

As you can tell, I bliddy love the exhibition and LOVE Bettie and Paige for pulling it altogether (go see it!). I thought it was a lush opportunity to interview Paige and find out all about the exhibition, her work and to finally get to the bottom of why women are pants are bigging themselves up?! Read on…. you won’t be disappointed.

So here we go, an interview with artist, lush creative and one half of Let Us Eat Cake – Paige Livingstone // Wild Lamb Illustration.

Paige Livingstone

Hi Paige, please introduce yourself for my fellow Culture Vultures?

I’m Paige Livingstone; I work under the name ‘Wild Lamb’ and I’m a collage artist /illustrator and co-curator of ‘Let Us Eat Cake’. I graduated from Northern School of Art in 2019. You can check out my work on my Instagram page.

How would you describe your practice and what you do?

I am a multi-media visual artist; my work and style tend to change slightly depending on whatever project I am currently working on. I don’t ever want to be limited by styles but I’m currently enjoying painting and starting to move a little bit away from collages. They aren’t something I will ever completely stop but I have just fell in love with getting messy and back to basics which I haven’t done in years. Lockdown has definitely been, a good time for me to pick up the paints again.

Paige Livingstone’s work

Were you creative as a mini?

I’ve always been creative; as a kid I would draw every day and scrapbooked a lot. I think is where my love of collage has come from.

Tell us about your journey into the creative industries?

I still feel like I am still just starting that journey! I’m showing my work in exhibitions and curating my own. I’m also working on commissions from both individuals and businesses and my “bread and butter” is selling prints. To be honest it has been such a weird couple of years, I’ve decided to set myself more personal projects and try and carve my own way, it can be a bit disheartening applying for the few and far between creative jobs here in the North East; so at the moment I’m focusing on my own personal development and working for myself.

Paige Livingstone’s work

Yasss – love the focusing on your professionally! So, tell me about your work? What inspires you?

My collage work tends to be inspired by a lot of the old renaissance style paintings; religious iconography, mythology and astrology. I like to use a lot of symbolism in my collages and in a way there’s a lot more depth to them than my illustration work. When it comes to my illustration work, I’m all about just getting the pictures out of my head and on to the paper. And really, there’s no deeper meaning other than “yeah that looks cute” or that was what I was thinking about at the time.

How would you describe your art style?  

I think my collage work is thoughtful; it can sometimes be more tongue in cheek and fun but with a lot of feminist undertones. My illustrations I would describe as some kind of kawaii and creepy cute cartoon chaos.

Paige Livingstone’s work

More chaos the better; your work tends to come in collections – different themes and styles. Tell us a bit more about that….

Yes, I really love doing usually about 12 pieces to a collection. I don’t know why, but when I look at one piece of work it never feels finished until its surrounded by others. I’m also a bit of a hoarding maximalist so the more the merrier but I think 12 or 6 depending on the work and then I feel the collection is complete; I get a buzz out of seeing the whole collection together.

Paige Livingstone’s work

I really love your collage work – do you plan them or do just happen organically in the moment?

I do sit and think about them, whilst I’m doing them, but I don’t plan per se. If I’m doing am analogue one, I might cut out lots of interesting parts and arrange them after. If there’s a theme, as there is with my icons or horoscope collection, I’ll think about it and I’m going to spend time searching for images based on that theme.

Paige Livingstone’s work

I love the contemporary characters, the cats, the retro vibes…….and even the clowns! Can you tell me about those…why do they feature quite prominently in your work?

I absolutely love clowns, dolls and puppets! I’m starting to realise how many people are actually terrified by them (haha!), so I might have a job selling my clowns. I’ve always loved the aesthetic of the circus; anything gaudy and tacky. The retro vibes are probably just my own nostalgia seeping into the work, I think nostalgia is a very powerful tool in reaching your audience.

And cats…….. well everyone loves cats or at least they should!

Paige Livingstone’s work

So let’s more onto your work with Bettie! How did you partnership and collab with Slutmouth come to be? How did you meet?

I think we met at Disgraceland in Middlesbrough for Picasso baby (an interactive arty party) and I’ve always loved her work. Also, just for being ballsy enough to have the name Slutmouth, I was a fan from the start! We just got chatting and we were wanting to do something last year, but because of COVID Beth didn’t get in touch till Jan and we were just like “yeah let’s go for it!”.

Paige Livingstone’s work

From your perspective what is Let Us Eat Cake? How did it come about?

Let Us Eat Cake started out as an exhibition but as it has gone on it has become more of a community; or dare I say it…. a movement?? Well, at least locally for us and the artists who have contributed.

We wanted to focus on women in art and get rid of the Fine Art elitist white man bullshit and showcase female artists with a focus on working class women. Let Us Eat Cake is a spin on the famous Marie Antoinette quote because yeah, let us fucking eat cake we deserve it!

Paige Livingstone’s work

What does working class mean to you? What does being a working class artist mean?

Working class to me means salt of the earth and hard working people; I think as working class people we sometimes tend to undersell or pigeon hole ourselves. We don’t always do the job, we want to because it’s not seen as realistic, which is why giving this platform to emerging artists who don’t necessarily have the links in the industry is so important to me; helping them get out there and sell their works.

Why is it important to amplify female identifying artists right now?

Again, I think women are notoriously bad at bigging themselves up, but we have no problem when it’s another woman’s work! So, it’s nice to create a community where everyone encourages and supports one another. Giving people the confidence, they need in their work to truly succeed as an artist is one of the main goals of Let Us Eat Cake and it’s a great feeling to be able to do that.

Paige Livingstone’s work

Tell me about the initial digital exhibition? What was the response like?

We actually became Pineapple Black’s most viewed exhibition, think we smashed the previous one within an hour and a half of going live, so yeah that was another great feeling ! We couldn’t have done it without all the amazing contributing artists’ work; the quality of work submitted was unbelievable.

And we can see the actual exhibition in real life when and where? What can folx expect?

From 25th June – 23rd July at Pineapple Black Middlesbrough. You can expect a lot of big paintings and a good range of styles.  Oh and of course; CAKE.

Let Us Eat Cake Exhibition

Are you originally from Teesside? What’s the Teesside art scene like?

I am originally from Teesside, yes! As for the arts scene, I would say it is still getting to where it needs to be. We have a great talent pool here but limited by funding. I’ve been to some good exhibitions, but I honestly think Let Us Eat Cake is one of the best exhibitions Teesside has ever seen. And that is me being polite by saying ‘one of’, because actually I think it is THE best, hahaha! (What was that about women being bad at bigging themselves up?)

Paige Livingstone’s work

For someone new to or visiting Teesside, which galleries and bars would you suggest they visit?

Pineapple Black, The Auxiliary and MIMA. We also have an amazing Christopher Dresser collection in the Dorman’s Museum that everyone seems to forget about; it is the largest in the world! I’d recommend anyone interested in ceramics to visit there!

Cafe Etch is an amazing art cafe in the captain Cook Square in the Old engravers. I love taking my sketchpad and doing some work there whilst enjoying the cakes and coffee. And they serve booze now too so even better.

Disgraceland on Baker Street along with the other bars around there is always a good shout too and my fave place to drink at the mo, is Alchemy cocktail bar.

Paige Livingstone’s work

Tell me about three Instagram artists – you’re following, that we should follow too….

@mrbabies does amazing surreal collages

@vonnart does beautiful fantasy illustrations

@dariahlazatova does amazing folks surrealist illustrations and portraits

Followed and in love. Do you take commissions? Do you sell prints?

I do both – you can connect with me on my Instagram and contact me that way! Insta: @Wildlambillustrations

Paige Livingstone’s work

What other projects or things have you got going on?

I’ve currently been working on the branding for Pop Bear Essentials for Pop hairdressers in Middlesbrough; it’s really fun and cute! Go and check them out for vegan friendly affordable hair care range @popbearessentials

And we’re hopefully going to be doing more with Cake and I’m going to be focusing on my painting for a bit longer! So stay tuned!

Let Us Eat Cake Exhibition

Thank you Paige – such a beaut interview and excited to see your next collection and for more empowering, unapologetic cakey shenanigans!

You can follow Paige on her Insta and please do, if you can check out Let Us Eat Cake at Pineapple Black in Middlesbrough – it’s an amazing exhibition, my favourite so far this year!

Interview with Mercury Prize nominated Sunderland band Field Music’s David Brewis.

I’m absolutely BUZZING with this interview – as someone who was once a bit of an indie kid, back in the day (before that I had an emo phase, before that a goth phase, before that a chav phase….); think Stonelove at Digital and Bulletproof at The Academy, obsessed with boys in skinny jeans and big hair, going to gigs every week, firmly in love with the North East music scene and listening constantly to bands like Mercury Prize nominated Sunderland band Field Music. I think about that period of my life, with such nostalgia!

I LOVE Sunderland band Field Music. Listening to them makes me think of a time in my life, that I was really super happy and was having a lot of fun! It is great to see how they’ve gone from strength to strength, continuing to release music, such a valuable asset to the music scene and I just love their twitter account.

Field Music – photography credit: Andy Martin

I’ve had the absolute pleasure of working with Field Music a bit recently. I’ve been supporting Paint The Town In Sound, Sunderland Culture’s online exhibition exploring the timeless relationship between art and music and the direct links forged between musicians and artists. The exhibition is curated in collaboration with Field Music, takes their own collaborations as a starting point to explore wider themes. The artworks in Paint the Town in Sound, are drawn from the Arts Council Collection and offer a fascinating insight into the musical heritage of our region providing a route to examine our own cultural identity and its relationship to class, politics and place. You can visit the exhibition here and experience the virtual walk through here.

Paint The Town In Sound exhibition

Like the little hustler that I am, I took the opportunity of working with and connecting with Field Music and nabbed a weee Culture Vulture interview with Field Music member David Brewis. They’ve got a new album coming out and a tour in the works….we chat live music in a pod COVID world, their new album, Paint the Town in Sound, art and other musicians to check out….

Well hello David, let’s do this, let’s start with an intro!

I’m David Brewis. My brother Peter and I have been making records as Field Music since 2004 from our own studio in Sunderland. I’ve also made a much of records on my own as School of Language.

How would you describe your music to someone who hasn’t listened to it?

I tend to avoid doing that but essentially, it’s weird pop music which doesn’t sound much like contemporary pop music but also doesn’t sound much like the pop music of any other era either.

Field Music – Photography credit: Chris Owens

Tell my fellow Culture Vultures about your journey into music? Why music?

The idea of playing music took hold of us when we were 10/11 and that was it. Mostly we were just pinching things from our parents’ record collection – Led Zeppelin, Free, Fleetwood Mac. We started playing covers in pubs in 1994 which was a great way to really learn. And we were “peer educators” helping to run the music workshops for Dave Murray’s youth project at the Bunker in Sunderland around the same time. It was there that we met Barry Hyde (later of The Futureheads), who was clearly really talented but also, because of his dad, had a knowledge of music beyond what we knew, – Captain Beefheart, The Velvet Underground, Wire, John Coltrane. It became a kind of trade – we showed Barry how to be in a band and he showed us how to listen to music! If anything, we became even more obsessive about music then and even more determined to make something unique.

We had applied for the very first round of National Lottery arts funding in 1997 to help set up a short-term community recording studio and after that, it felt essential to have our own studio space. That – and the fact that we could never really explain to anyone what we were trying to do – is how we ended up self-producing music right from the very beginning.

Field Music. Photography Credit: Andy Martin

You’re releasing a new album soon….tell us more! What was it inspired by?

The next Field Music album is called Flat White Moon and it’s due out in April. A lot of it was inspired by our mam passing away in 2018. I think we both felt we needed to write about it and about her and our memories of her; but we weren’t really ready until now. Our last album, Making A New World, which came out last year turned out to be a good way to use the creative parts of our brain without getting stuck in the mental fug we were in when we wrote it, because that was all based on stories and research related to the first world war. We didn’t have to deal with ourselves and I don’t think we could have at that time. The new record isn’t overly gloomy though – we were keen to make music, which was freeing and fun to play, after a couple of albums which were quite tricky to play live.

Field Music new album

And you’re touring later in the year…..are you excited to be on the road playing to actual people in real life?

Excited and anxious, but I think that’s how the audience will feel as well. Whenever live music starts happening again, I think it’s going to be a very emotional, cathartic experience all round.

Absolutely agree – speaking of live music, can you tell us about your favourite gig or festival you’ve ever played?

We played a lot of festivals in 2016 and quite a few of them were not a lot of fun. Winning over ambling crowds of people drinking Pimms is not really our forte – our music is too knotty and our sense of humour is too dry to work in that situation. But then the last festival of that summer was in the big tent at Green Man Festival. I’m not sure what I was expecting but we came out and the tent was packed and the atmosphere was really special. It was wonderful.

I truly hope so. On the plus side, the people who run and book small independent venues are some of the most resourceful, creative and bloody-minded people I know. They will find a way to make things work. But small-scale live music has never been a money-spinner so if there are restrictions on gatherings for another whole year or more, it’ll be extremely difficult for small venues to survive. As with everything else, we’re dependent on how the health crisis is handled first and after that on how businesses are supported. Also, because the whole industry is basically run by freelancers, who’ve been among the least-well-supported financially through all this, there’s an awful chance we’ll have lost thousands of skilled people who’ve been forced to find work in other sectors.

Field Music. Photography credit: Andy Martin

What do you think of the music scene in Sunderland/North East? And any suggestions of folx to check out/ones to watch?

Honestly, I find it difficult to keep up. And I’m now old enough where I don’t feel guilty about it! It has been pleasing to see how active Independent have been in putting on shows that aren’t just lads in bands (though Roxy Girls are an outstanding band made up of lads). It has been interesting and exciting to do a little bit of studio work with Sunderland Young Musicians Project, who seem to have a whole production line of talented, outrageously-young songwriters, some of whom are already getting out there in a serious way like Faye Fantarrow and some of whom, like Ami McGuinness, Lottie Willis and Eve Cole, are just a step or two away from that too. There’s greatness to be mined if young people have the opportunity and the support.

Field Music. Photography credit: Chris Owens

Absolutely agree! Tell us about Paint the Town In Sound online exhibition?

When Jonathan from Sunderland Museum first got in touch with us to act as guest curators, the brief was pretty open. We knew that the majority of the works in the exhibition had to come from the Arts Council Collection but that was about it! So, we started poring through ACC catalogues and decided to use the exhibition as a way to look at how music, art and identity feed into each other and that ended up touching on fandom, pop iconography, sleeve art and punk as a community movement. We were very fortunate, to have Jonathan guiding us through the process and being so accommodating to our ideas.

Field Music. Photography credit: Andy Martin

Why should folx check out the exhibition and what can they expect?

The hope is that if you go to the exhibition you’ll see some reflection of yourself in there. We all use pop culture as a way to self-identify and while we can’t represent EVERY pop tribe, we hope it’ll show a bit of how that self-identification happens and why it’s so interesting and important. I’m over the moon that we have some great work from NE-based artists – the likes of Narbi Price, Laura Lancaster and Graeme Hopper in there – alongside Peter Blake and Anthea Hamilton. I think people will find the items from the Bunker archive really interesting – handwritten letters, posters and newsletters from the first flourish of punk organising in Sunderland. And I personally really enjoyed putting together the display of NE-linked record sleeves and researching the artists and designers who created them – it’s like an alternative history of music and design. And it took AGES.

Field Music. Photography credit: Andy Martin

What I love about the exhibition is that it really showcases how music and art can blend together and create something quite magical….. how has art affected your music? What type of art are you into?

One of the things that became really apparent in compiling the sleeve art display is that the styles of art and design used always say something about the artist, even if it’s the artist deliberately trying to steer you away from a particular interpretation of their music. So with us, the art we tend to like and tend to use is a lot like our music – we want it to be comprehensible without a lot of explanation but we want it to hold details and references which you’ll hopefully discover the more time you spend with it. We often want it to have an element of humour or self-deprecation. We like things which cast a bit of wry eye at luxury and commerce and we like to subvert symbolism. I also like things where it feels like the artist is struggling a bit to communicate something just out of reach. And conversely, with both visual art and music, I tend to glaze over a bit if it feels like making it or conceiving it was too easy.

Field Music new album

One of the things, I love about being The Culture Vulture, is that I have the privilege of going behind the scenes and getting my mits on things before everyone else (which is mad because it’s just Horts from Gateshead!) – you had that experience a bit seeing the Arts Council Collection stuff? What was that like?

Sadly, because everything was done under some level of covid restrictions we didn’t get to see anything for real before the installation. We were entirely dependent on the ACC catalogues. Which did mean, for instance, that we didn’t release quite how risqué Anthea Hamilton’s Leg Chair was until it was in situ!

What else are you working on? Anything else you want to share?

In between the frustrations of homeschooling, we’re having to spend a lot of time thinking about how we promote a record when we can’t go out and play; it’s difficult to rehearse and we can’t go anywhere. I never thought I’d be the kind of person who used the phrase “visual content” but here we are. We’ve also been working on songs for a commission for next year which has involved some fascinating historical research. More on that soon!

Very exciting! Thank you so much David!

Field Music. Photography credit: Chris Owens

Keep an eye out on Field Music social media for the album drop on 23rd April.

To view Paint The Town In Sound visit HERE.

To experience the virtual walk through of Paint The Town In Sound visit HERE.

And finally, keep an eye out for Paint The Town In Sound Podcast series, as it will be launching soon!

Coming soon – Field Music PtTiS Podcast series

Interview with visual artist Bethan Maddocks – paper rainforests, creative anarchy & being a nosy parker.

I’m so excited to share this Culture Vulture interview with you all – this interview is with brilliant, Newcastle based visual artist, Bethan Maddocks.

Bethan was actually one of the first artists, I became fascinated with before the Culture Vulture was even a sparkle of an idea in my eye. She’s a multi-disciplinary artist that works with different types of materials – in fact, I’m pretty sure, if you look up multi-disciplinary artist, you’ll see a picture of Bethan smiling back at you. I found it so inspiring when I was first starting out, to see a fellow creative, confidently working across lots of different types of projects and refusing to sit neatly into a box – Bethan to me was an artist that represented creative possibility, opportunity and the beauty of constantly evolving and growing through projects and collaborating with people.

Her work, projects and sculptures bring to life people’s stories and her own ideas, into technically brilliant, unique visual interpretations. They are often socially engaged too – which in present times, is not only crucially important, it also shows that art has a really powerful role to play, reinterpreting and reframing thoughts, ideas, history and can often enable audiences to see and consider things in a different way.  

Bethan was one of the first artists, that I noted co-creating art with communities in such an inclusive, warm, participatory way and I witnessed, the joy of folx seeing their contributions become a final professional artwork or sculpture! Participatory arts in the community, in my opinion, outside of the art world, isn’t really understood and massively undervalued. Bethan was my first real exposure to not only the positive impact of a participatory arts project but also, that the art work created can end up displayed at a professional exhibition or light art event.

I’ve always been a little star struck by Bethan too, a little bit in awe of her. If you know me – you know, I’m not detail focused, I’m not precise, I’m creatively chaotic and methodical process just isn’t a natural thing for me. Bethan’s work is often so delicate, so precise, made from paper, all about the small touches and detail – she probably represents my polar opposite type of creative! I admire her technical brilliance so much – she creates type of work that I look at in total awe, as she’s so highly skilled, accomplished and brilliant.

So this artist interview has been on my “NEED to interview” list pretty much, since I started out as Culture Vulture. And across the years, our paths have crossed many times and I’ve been lucky enough to support a few projects she’s worked on over the years. She’s an absolute North East gem and a really lovely, kind, open human.

Over to you Bethan!

Visual artist Bethan Maddocks

Hello Bethan, can you introduce yourself and tell my fellow Culture Vultures a bit about your practice? 

Hello! I’m a visual artist; I work with light, paper, fabric and found objects to make large sculptures and installations that audiences can touch, explore or add to. The last few years I’ve become really interested in paper-based work so currently I make lots of intricate paper-cuts.

I often work with archives, communities and organisations to collect stories and make socially engaged, political or site-specific artwork.

Bethan Maddock’s piece – From Junipers Branches Grow

I ask every artist I interview this question; can you tell us about your journey into the creative industries? 

Ever since I was little, my twin sister Catriona and I, were always scavenging things for ‘projects’; bottle tops or bits of scrap metal from outside the tiny blacksmiths in our village. Haberdasheries and DIY stores were our treasure troves. I’m grateful that I’ve always been encouraged in playing, exploring and creating since I was a little kid; probably one of the reasons that workshops and community sharing are such a core part of my practice nowadays.

I studied art at college, then Northumbria University and also at a Finnish University for an Erasmus Exchange. After graduating I volunteered on every creative project I could find, till I started getting small projects myself – I think it was easier for recent graduates in the last years of the Labour government as there was more support for young artists and a greater all-round appreciation and understanding of the arts from those in power.

Bethan Maddocks – Floraphone – Photocredit: Colin Rose

Huge congratulations on being awarded the Dover Prize – so excited for you! Can you tell us about the Dover Prize?

I was really lucky (and completely blown away!) to win The Dover Prize in 2019. It’s an amazing £10,000 bursary awarded every two years to a UK-based artist. Its aim is to help artists develop their practice and  comes with the gorgeous ethos to ‘provide the artist with time to think, research, reflect and experiment with new ideas’.

As an artist you’re always applying for things, seeking ways to make your work fit a commission proposal; what’s brilliant about the Dover Prize is that it’s centered around the artist’s own work- the initial application form asks useful questions about your practice and your aims – things I found helpful to reflect on.

In February 2019 I was shortlisted from over 100 applicants and invited for an interview where I got to meet the judges and discuss my work and practice in person. The judges were great, and again asked really helpful questions about my aspirations and inspirations (I even somehow managed to talk about meeting my favourite artist Louise Bourgeois as a wide-eyed 20 year old. I’d like to think Louise was looking down, helping me to win -a sort of artist fairy-godmother!).

The Dover Prize 2021 is now open (deadline February 14th!) and I’d hugely encourage any artist to have a punt at it – it’s been incredible support for the last 2 years. You can apply HERE.

Bethan Maddocks

Can you tell me a bit about what you’ve done with the award these last 2 years?

The Dover Award originates in Darlington; having grown up in County Durham it felt great to focus my practice on a part of the world where I began my journey as an artist. I’ve spent a lot of time exploring the history of the area and trying to connect its historic backstory with contemporary politics. Darlington’s schools, libraries and social infrastructures were massively developed by several powerful Quaker families in the 18th century, so I connected with the local Quaker chapter to learn about their ethos of listening, equality and stewardship to help ground some research. Sitting in silence with a group full of kind strangers, waiting for ‘ministry’ is quite something!

I also used the bursary to help fund a residency to the incredible Studio Garonne in Southern France, where I collaborated with designer Remi Bec to make a series of paper and light sculptures and drawings and I also embarked on a research project to Canada to meet some brilliant paper artists such as Crissy Arseneau, Rachel Ashe and  Brangwynne Purcell. I’ve made lots of experiments combining my papercutting work with machine cut elements, and I’m hoping to translate some papercuts into metal this year.

Bethan Maddocks – Book of Shadows

Can you tell me a bit about your relationship with Woodhorn Museum in Northumberland?

I’ve worked with Woodhorn Museum on and off for the last few years often creating large installations in their huge, ex-mining industry buildings. A lot of my work is about exploring hidden stories, and Woodhorn has a great ethos for uncovering Northumberland’s lesser-known stories – so we’ve collaborated together on some really fun projects.

The Programming team often invites me in, to create installations based on brilliant random ideas they’ve had for exhibitions such as ancient forests, homing pigeons and orchid growing!

Even in 2020 they managed to commission a new project for myself and Unfolding Theatre (as well as the ever-brilliant Ruth Johnson, Nick John Williams and Jill Bennison). The Quest of Missing Questions was Woodhorn’s invitation to its audience for its re-opening after the first lockdown. The commission personally was a bit of a life saver, showing me that good organisations can (and should!) support freelancers even in tough times and in doing so create lovely rich collaborations.

Woodhorn Museum

Here, here! You’ve worked with them a few times in the past? Tell me about one of those projects? 

One of my favourite pieces was The Fallen Forest that explored the prehistoric carboniferous forests that existed here 250 million years ago, which formed the coal so key to our region’s economic and socialist development. I spent several months researching fossil records, becoming my own pretend geologist. I did a residency over in Borneo and managed to connect the kind of foliage that you find in modern Asian rainforests with similar foliage from these ancient rainforests. I created giant ferns and cycads and huge 5 metre tall papercut trees- each paper-tree’s surface referencing the bark patternations that you find recorded in fossils.

It was open for 9 months and the audience could attend workshops to make small paper artworks to add to the forest, so that it grew, expanded and then collapsed; mirroring the ancient forests growth and demise.

I love projects like that; I get to obsess and learn so much about random things. I’m always dreaming that one day I’ll go to a (very specific!) pub quiz and know all the answers from all the avid research I do (it has not happened yet!)

Bethan Maddocks – Fallen Forest

A lot of your work involves engaging with communities and community contributions – why are community contributions important to your practice? Why are opportunities to contribute to creative projects important?  

I’m a huge champion of creativity for so many reasons – it’s the great unifier; when you get a group of people making artwork alongside each other there will always be brilliant, eye opening, heart expanding conversations. There’s some magic that happens when people use their hands to make; it sort of frees up their thinking and people reconnect with their inner child.

I love working with other people as it’s always a helpful side-step for my thinking, I can have the best laid plans for what I want to create for an exhibition, and then a conversation or even a throwaway comment from someone, plants these delicious seeds, and sends me in ways I’d never of thought of. It’s an honour to work alongside people from such diverse backgrounds – there’s always so much to learn from other people.

Bethan Maddocks – NHS Celebration Artwork

You often create sculptures/artwork to scale – what is your favourite thing about that type of work? Do you enjoy watching folx take it in?  

When I go to exhibitions, it’s alwayslarge-scale sculptures and installations that I love to see and experience the most; that sense of becoming aware of your own scale – a little like standing at the top of a massive mountain and feeling so tiny in this all-encompassing landscape.

I also love making loud noises in quiet acoustic buildings, touching stuff that maybe you shouldn’t, opening drawers, prodding around, and I want to make artwork that encourages that, where you can be a playful nosy parker! I made an installation a couple of years ago, where there were hundreds of sandcastles inside a tent, all decorated with cocktail umbrellas. We opened the tent and loads of kids came in, all wanting to smash them down but thinking they ‘weren’t allowed’. Watching the first kid (my nephew- ever a proud Auntie!) go and kick one down and then all the other children running forward to join in; it was just absolutely gleeful to see all that work disappearing in joyful, anarchic seconds. I want to create moments like that.

Bethan Maddocks – Everything There Ever Was

What is your role at BALTIC? Have you been involved in any of their online creative work during lock down? 

I’ve worked freelance for the Learning Team at Baltic for about 12 years; they took a punt on me as a relatively inexperienced but eager workshop facilitator just after I graduated and I’ve been working there ad-hoc ever since. I love the range of groups that we get to work alongside and the Learning team’s encouragement to try out new stuff, take over spaces and explore the exhibitions. They were also brilliant at the beginning of 2020 madness (we’ve got to champion the good ones!), paying all freelancers for sessions they couldn’t deliver, and helping support us to do online workshops. I’ve made quite a few online videos since, and it’s a learning curve, but I spent a lot of my childhood apparently critiquing Neil Buchanan for his crafting on Art Attack, so perhaps it was meant to be. You can watch them here and here and here

Bethan Maddocks – Floraphone

How has lock down/pandemic affected you as an artist/freelancer?  

Well it hasn’t been easy for anyone has it (except perhaps for political donators and disaster capitalists…)!? I had a week in March where I had 7 exhibitions and two years of work cancelled which wasn’t particularly fun. It has been difficult being self-employed and I hope the brilliant work that people have done in raising awareness of the vulnerability of self-employed and zero hour contract workers has helped the public to appreciate cultural and hospitality workers better.

On the flip side, I’ve had more time in my studio at 36 Lime Street, which is just a dreamland to work in, a building full of lots of talented, diverse makers in the heart of the Ouseburn – my windows open right onto the river so I get to work to the sound of the water and the ducks and swans flapping about.

I’ve  also loved watching things like #ArtistSupportPledge, Beccy Owen’s Pop up Choirs, Mutual aid support groups and Artists’ Union England’s solidarity fund come together. The arts are a mixed bunch of brilliant, creative, bloomin’ hard working people, and even in all this weirdness, they’ve given me lots of moments of joy and celebration.

Bethan Maddocks in her 36 Lime Street Studio

That made me so teary, I’m so proud to be in this sector with wonderful folx like you! Do you have anything to say about artists being described as “unviable”  ?  

I mean it is ridiculous isn’t it!? Weapons manufacturing, the aviation industry and fossil fuel use aren’t exactly viable, if we want to have a happy, existing planet, and yet governments never seem to pull them up…

I think there are things in the arts that aren’t particularly viable – like reserving huge amounts of funds for top management and the running and upkeep of buildings rather than fair living wages for all employees, and I hope that this can change.

And look at everything that we’ve ever sent into space to be found by future/other civilisations, or any time capsules that we’ve buried in the ground and they are full of the arts – music, literature, artwork, Da Vinci’s Vitruvian Man carved on the side etc. Our society is defined by its culture past and present – make that unviable and you have a pretty grey world.

Bethan Maddocks – Frost of Forgetfulness

An answer like that is exactly why I bliddy love you Bethan! I personally believe creative opportunities for all are more important now, than ever – as a process for folx to make sense of what’s happening, feel connected to others, express themselves…… any thoughts? 

Definitely; it’s what’s kept us all sane hasn’t it! As unsatisfying as culture being mostly online can be it’s also opened the doors for some brilliant new ways of engagement and accessibility- I think of all those people with mobility issues, with young kids, with low self-confidence who in the past haven’t have been able to engage in the arts physically, who were effectively blocked from going over the threshold and now they can join in. They can settle their kids, pour a glass of wine and go online and join in on a bookmaking course, or watch a piece of live theatre, or go to a gig on their couch. We’ve got to celebrate that. And when things become more open again, we’ve got to make sure that we keep people with us, that this new accessibility doesn’t stop with a vaccine, but changes the landscape. We’ve got to make this the best learning that we can.

Bethan Maddocks – NHS Celebration artwork

Can you tell us a highlight of 2020? 

I’ve missed live music; there’s not much better than having a dance at a gig with your mates, so I had a particularly brilliant birthday, in amongst this strange year. County Durham based arts organisation Jack Drum Arts, were organising doorstep gigs with musicians and storytellers coming to perform for small groups during the summer holidays. My Mum surreptitiously organised for the legends that are Baghdaddies to come and play in her garden for me and my twin sister on our birthday. We had our own tiny festival- sousaphones, trumpets, drumkits popping out of the flower beds, mojitos in our hands as we “wiggled our bums, our big fat bums…”. That was pretty heady.

Bethan Maddocks – Book of Shadows

Sounds glorious! So, what’s next for you? Can you tell us about a project you’ve got coming up? 

I have an exhibition ‘Finders Seekers’ that has just ‘opened’ at Greenfield arts (although currently no-one can visit it!). It was a lush commission to create artwork around ideas of possibility, changing perspectives and inquiry.

The exhibition is made up of a series of paper installations of trees, mushrooms and lichen combined with objects such as ropes, ladders and magnifying glasses – tools of investigation and elevation.   I spent most of Christmas hand-painting and cutting 300 paper oak leaves to thread onto a ladder!

I wanted to create a fun, celebratory, optimistic exhibition; artworks interconnected like an ecosystem, where the viewer enters a childlike world, a paper-made forest full of metaphor, imagination and elevation.

Where can we keep in touch with you and check out your work?

I’m currently reworking on my website with the brilliant Branded by Naomi and I’m hoping to have a snazzy new launch of it early this year www.bethanmaddocks.com. Or if you want to find photos, drawings, papercutting videos and the occasional lycra-clad leg kick you can find me on Instagram bethan_maddocks.

Bethan Maddocks – Christmas Carol Lit & Phil

Thank you Bethan! Interviews like this make me feel so certain that I’m in the right sector, working and collaborating with glorious humans and that the power and potential of art, is that it can change the world and make such a difference in people’s lives.

That’s all for now Culture Vultures……until next time!