Ouseburn Open Studios 17th & 18th March; the ultimate Culture Vulture weekend.

One of my absolutely favourite weekends of the year, a true weekend full of Culture Vulturing, is Ouseburn Open Studios. It’s a weekend full to the brim of everything the Culture Vulture is all about – supporting and championing artists and independents, seeking out the unfound and hidden talent in the region, spending time in one of the creative hearts of the region, experiencing different artistic mediums and going into artist studios and creative spaces.


Ouseburn Open Studios is a bi-annual event that takes place in March and November every year, and celebrates art, craft and design in the Ouseburn Valley and offers other culture vultures a rare insight into the working world of artists and designer-makers. It all started modestly in 1995 with a few artists from 36 Lime Street opening their studio doors; over the years, Ouseburn Open Studios has grown and grown and now is one of the highlights of the cultural calendar; showcasing the work of more than 100 artists, designers and makers working across the Ouseburn Valley.


One of the many creative delights in Ouseburn Valley

This year, Ouseburn Open Studios returns on Saturday 17 and Sunday 18 March – 10am-5pm offering a unique insight into the working world of artists and designer-makers whilst signalling the start of the new Spring creative season with venues and artists taking the opportunity to announce new projects, new product lines, workshop programmes and events.

This Ouseburn Open Studios, five venues from across the Ouseburn Valley – located a short 15-mnute walk from Newcastle city centre – are taking part in this spring’s event including: The Biscuit Factory, Kiln, Northern Print, Jim Edwards Studio and 36 Lime Street.  Ouseburn Open Studios is open to the public and is free to attend.

I was recently invited to meet project coordinator and general manager of The Biscuit Factory, Rachel Brown, to find out more about the 2018’s Spring Open Studios.

Rachel Brown said: “The spring event has a laidback vibe, and being smaller in scale means that visitors can take their time to explore the different venues. Whether that’s discovering the freshest of work being created from within the studios, enjoying a newly launched exhibition, dropping in to a demonstration or booking into a workshop. It means that visitors can personalise what they want out of the weekend.”


Handy map of venues

So, for 2018, the spring programme includes:

  • The Biscuit Factory – Inspired by International Women’s Day, the gallery is spotlighting inspirational women in the creative sectors with a weekend that celebrates local female entrepreneurship with pop ups, workshops, demonstrations and open discussions. How absolutely up my street is that!?
  • Kiln – The workshop and kitchen welcomes back its monster making drop-ins; get to grips with clay and make whatever comes to your imagination.
  • Northern Print – The gallery will showcase the work of Japanese artist Katsutoshi Yuasa. Using Mokuhanga – the traditional Japanese woodcut process – his work reflects on photographic and digital images and the time spent in making these hand carved works. And as always, I’m sure there will be print making opportunities for people to have a go at!
  • Jim Edwards – Jim will showcase his new collection of large Nightscape biro drawings of the River Tyne, reminiscent of his sketchbook work. As always Jim will be lurking in his creative workspace and on hand to chat about his working practice.
  • 36 Lime Street – 22 artists and makers will open their spaces over all five levels of this listed building. The theme in the street level gallery is Change, inspired by the centenary of the first votes for women. Visitors can also buy raffle tickets to raise money for building works: covetable miniature prints designed by members and printed by Lee Turner of Hole Editions. I’m building up quite the collection of these raffle tickets! Hannah Scully ones are always beauts!

As always the line up above is amazing but if that’s not enough to persuade you to visit, well I thought I’d gather my top hints, tips and reasons why you HAVE to visit.

  1. You can go inside artist studios.

This is one of my favourite elements of Open Studios. Every single studio is so different and individualistic and they open their doors to the wider public. It’s an opportunity to see works in progress, watch demonstrations, view and take in their work, find out how they make things and about future projects alongside being able to buy lots of lush pieces, prints and cards.

I spend ages just lurking and pottering about – going from studio to studio. For me, it’s a great opportunity to meet new artists and catch up with Culture Vulture favourites. I love hearing about what artists are up to, what commissions they are working on and their creative journey and inspiration.


  1. It’s a lush opportunity to visit a new venue or space.

Even if you’re an Ouseburn Open Studios regular, as artists are always evolving, moving on, moving in and spaces in the Ouseburn are converted and transformed, there is always something new to see, discover and experience. It provides a great opportunity to finally visit a venue or independent, that you’ve been meaning to but haven’t got round to yet.

I’m super looking forward to FINALLY going to The Kiln; yes can you believe that I’ve not properly been yet? Every time, I try to visit it’s either too full or closing (I swear it’s a conspiracy) so I am making it my firm priority to go and really looking forward to it.


The Kiln – Ouseburn

  1. It’s ace for boozy Culture Vulturing and supporting independents.

We all know I’m a big fan of the #SundayClub and Ouseburn Open Studios is perfect for this. I love going with a friend, planning a lush lunch somewhere (often Ernest) plotting our route, visiting the galleries and venues, and stopping off on the way at many of the independent bars for a drink. As you can imagine, the more stop offs, the bigger the purchases get…..one minute I’m buying some nice print cards, the next a small print, then a chopping board and suddenly I’m putting a deposit on a coffee table commission. It can be a beautiful blur.

And that’s also the beauty of Ouseburn Open Studios – there is a misconception that purchasing art is mega expensive and it’s really not. A lot of work and pieces are really affordable alongside pieces that I like to label “aspirational” – one day! Open Studios is like my version of walking around IKEA; I pretty much know exactly all the art pieces, the commissions and token creative bits that I want for my own house. My house will be full of bespoke pieces by independents, full of colour and total mis-match – representative of my personality.

The Biscuit Factory and in many of the individual studios, there are often a wider selection of bespoke gifts, prints, cards created by artists and creatives etc – by purchasing those, you’re equally supporting independents and creatives and they are super affordable . Last Christmas, every card I sent was from the last Ouseburn Open Studios – each very different, lush and unique. I like the idea of giving someone their own mini artwork.


The Biscuit Factory

  1. Ouseburn Open Studios is super accessible.

If you’re a Culture Vulture, have a family of mini culture vultures, creatively curious or looking for an ace afternoon out with your friends, family or on your own (I often go it alone and love it!), then it’s absolutely for you. The vibe and atmosphere is amazing, everyone is always having a lush time so I always get chatting to people. As so many different types of artists are involved, you may go into one studio and think it’s not quite for you or to your taste, then walk into the next one and love it and so on. For me, I’m less about the florals and more about the abstract, or the graphic design, the colourful, the big and the bold, the obscure and the artistically intricate.

And for families, there is always lots to do too. Many of the venues or artists have child friendly activities for your mini culture vultures to have a go at. But the families that I watch going around, because each studio and space and space is so lush and different, for kids it’s like a new discovery behind every turn and they often can’t wait to show their grown-ups what they’ve just seen in another studio.


  1. It feels like home.

My creative soul feels like it belongs in the creative quarter of Ouseburn. I love the industrial surroundings (not so much the student accommodation!), the graffiti, the lush independents, the vibe and the creativity that is going on all over the place. For me, it’s as much about the outside as it is the inside, taking in the river, popping along to the Tyne Bank Brewery, going to check on the little boat behind Seven Stories and seeing all the small pieces of public art hidden around.

However, true nostalgia and it wouldn’t be an Open Studios without it, is visiting Jim Edwards Gallery Space. You may remember I wrote a recent blog post on him – I’ve been a super fan for a while. I love his work, his depiction of Northern cultural scenes and his representations of views that we all know and love. I was also a super fan of Craig David Pubcat (if you know, you know!) and visiting Jim’s gallery is like a little homage and nod to his memory. I bliddy loved that cat and I love that Jim has captured Craig David in several scenes showing how much he was a part of the fabric of the cultural scene for many.


Jim Edwards featuring CraigDavid Pubcat

  1. It’s not just about looking at things.

Lots of the artists and creatives put on demonstrations or continue their creative practice so you can watch whilst they are engaged in a new project or commission. There is a lot of opportunity to chat and ask questions. But many run drop in workshops across the day – which is a brilliant addition.

This year The Biscuit Factory is doing something a little bit special and very up my street to complement their brand new Spring exhibition (can’t wait to see it – I’ve avoided going so it’s all a lush surprise); they have several artists from the exhibition on hand to chat about their work – a meet the makers type of thing. They have also assembled a creative programme inspired by International Women’s Day with some of my fave female creatives and artists – including The Crafthood, All Round Creative Junkie, A Woven Plane, Trendlistr and Megan Randall (who I haven’t met in person yet – so yey!). If you want to find out more about the line-up well head on over to the facebook event page – as some activities and workshops have specific timings and charges.


So I hope that’s enough to get you excited – I will be out culture vulturing across both days – so if you see me, make sure you say hello! I will also be popping my creative adventures on social via facebook, insta and twitter so if you want to follow that you can.

Facebook: @TheCultureVultureNE

Insta: @horts27

Twitter: @reettinker

For more information on Ouseburn Open Studios visit their website: http://www.ouseburnopenstudios.org

Until next time Culture Vultures!


All rise for Lady Kitt; subversive, perfectly ridiculous & immensely talented.

The whole point of International Women’s Day is to celebrate women, feminism, Northern lasses and champion women who rock your world. So for this year’s, International Women’s Day, I wanted to profile an artist and creative that I personally have loved from a far since I first became aware of her – her work, passion, innovative and interesting projects and commitment to creativity and  equality.

Well hello Lady Kitt…..total megababe. Kitt’s projects, work, events and her exciting ambitions are not only inspirational to the regional, National and Internation sector – but to me, she is someone  brave, bold, empowered and doing creative things that are truly exciting and making her mark in a thriving and vibing independent arts and cultural sector. She’s my kinda gal and I’m thrilled she accepted my invitation to be feature in this blog post.

BOOM – Happy International Women’s Day Lady Kitt – reet so let’s start at the beginning; tell me about you and your extremely diverse practice?

Hi, I’m Kitt- I’m a…. “Maker”. I guess that best sums it up. Art, jokes, food, quite a lots of mess, and, with my lovely husband Andy, a couple of super little humans. It’s all making really isn’t it?!

It’s funny – the diverse practice thing, I’ve been thinking about it quite a lot recently. I reckon the tools I use are quite diverse- there’s research, paper cutting, mass bubble blowing, fruit carving, performance, lectures, projects, … but really, the core of my work has always pretty much been the same- it’s all about delving into, developing, celebrating the social aspects of creativity.


Everyone has a different journey into the Arts; what was your journey into the arts?

I’m not massively into the idea that people are “born” to certain things; but looking at my early life it’s easy to link it to my practice now. I was brought up in a creative family. I grew up with my wonderful younger brother Louise who was severely disabled and terminally ill. He was an amazing artist and seeing the pleasure and power he experienced through being creative has had a huge influence on how I see art and why I think it’s important. I was taught at home until I was 14 – so had a good amount of time to focus on being creative and lots of time to spend with one of the most important people in my life- my sister, Bridie. Our relationship and creative adventures together are big, big part of almost everything I do.

I'mHappyThatYou'reHappyButI'mNotHappy LADY KITT_resized

I’ve always made physical stuff- embroidery, nests, paper cuts- but for a long time I didn’t think I was an artist. I started off wanting to be a dancer. I trained in the Indian dance/drama discipline Bharata Natyam for six years and was taught contemporary dance by the completely awesome Trish Winters. It was through Trish that I started to experience some really playful ways of using and presenting performance. During my art foundation degree, I started making work that combined performance, working with community groups and making stuff all at once. But it wasn’t until I was at university that I really discovered live art and artists with a ‘social practice’ and then I was like- yes- that’s me- I have a gang!

Lady Kitt is an amazing artist name  – I love it!

Name wise-when I was coming up to my 21st birthday- my parents were talking about what to give me as a birthday present. I’ve always been a Republican (in the anti-monarchy sense), really disliking the idea of being subjugated, inherited titles and all that gubbins, so they offered to change my first name by Deed Poll to “Lady”, as a daft, subversive, two fingers up the whole system. I loved it – it’s such a cheeky gift- so we did all the paper work and everything- sent it off, but it was rejected – on the grounds that I was trying to “assume a title”- which is sort of pleasingly ironic. I thought “fuck it- I’ll just call myself Lady Kitt and I’ll keep doing it until everyone else does too” and that’s what I’ve done.


You have a very strong visual identity within your work and expression of yourself as an artist – how did you develop this?

It’s really interesting that you say I have a strong visual identity; looking at it objectively I can see what you mean, but that’s definitely not how I experience it myself. For me, I have a strong methodological process, and some very definite ideas about making art in inclusive, ethical ways.


I’ve developed my process by pretty much by throwing myself in at the deep end and seeing what happens. I don’t ever really think “this is too ridiculous” (although it nearly always is). I think “how can I do this so it genuinely, clearly says something I’m interested in” or “how can I get lots of people involved and change something we all want to change” or “how can this be the most fun possible?”.

Like with the first Nasty Women exhibition last year- I just thought “this is really important, I want people in the North East to have an opportunity to be part of this. I want an opportunity to be part of this”. I didn’t think “Bugger we can’t do this- we’ve got no money, no infrastructure, no gallery, no clue”- which was all true! So yup, that’s how I develop the process…


But visually, with the sort of “end product” – I don’t consider myself to have a very coherent style or visual language- I just make the next thing that I feel compelled to make, without ever thinking does it look like something I’ve done before- will it “fit in” with my existing body of work? Maybe it’s because the physical objects I make aren’t really the “end product” to me- to me they are a tool for getting to the goal- which could be raising awareness, building a community, changing a policy, having a good time.

I love your ethos of experimentation, challenging creative roles and processes – where does your creative playfulness come from?

Thank you! I like to see people reacting to things in curious, inquisitive, ways and I like to create situations that let people do that. So some of it comes from that- basically it just makes me happy!

It‘s fun for me to invite people to apply to be my muse (like it’s a formal job), or to encourage people to use my head as an art gallery or to make a performance where the content is authored by viewers sending me text messages telling me what to do. So that’s part of it- And some of it is more philosophical. People are creative- making things in a (generally!) thoughtful way is one of the things that makes us Human.

Sirens Call 2018 LADY KITT_resized

Often people don’t get (or give themselves) opportunities to enjoy that- I want to create situations that encourage people to make physical stuff, make decisions and think about / celebrate the importance of being creative. I also hate all the hierarchical “hi/ low brow art” crap. I think it’s detrimental to individuals and to society. People thinking that they are not creative or not creative in the “right way” stops them from developing vital skills.

Making stuff gives people agency- it’s a chance to physically encounter change. Making in groups is like apes grooming- it’s social glue. When people start being creative together they almost instantly create a little community that has its own culture and rules- just like that, out of nothing, it’s like magic. Once people do that and know that they can do that then, they often start to explore other wider things that they can create and change. A community full of people who feel empowered in that way can be supportive, kind, resilient. Elitist ideas of what is art and who is an artist just stop all that dead. Sorry, I could go on about this for EVER.

1,337 WaysILoveYou LADY KITT 2018

It’s great to be able to showcase you, on International Women’s Day….. what does being a female artist in 2018 mean? What does it mean to you?

Wow- well, I’m extraordinarily lucky. For me being a female artist in 2018 (in the UK), means freedom. I’m free to say what I want to say in the way I want to say it. A few people might think I’m idiotic, a lot of people will question me (and so they should) – but no one can stop me. Being a female artist in other places in 2018 doesn’t mean freedom, it can mean absolutely the opposite. And being a female, or a being queer, or being an activist can still mean torture and death. For me, knowing this and campaigning to change it, is a very important part of being a female artist and of being a Nasty Woman.

detail 1 105 WaysYouAreWorthMoreToMeLikeThis Lady Kitt 2018

How do you plan to mark it this week and #pressforprogress?

Again I’m so lucky. This year I have work in 4 exhibitions all over the UK all opening on Thurs 8th. I’ll be in London performing at the Creative Debuts and Nasty Women “Empowerment” exhibition along with a group of bloody amazing Nasty Women from all over the world.

We are also launching the Nasty Women International Art Prize this week. The aim of the prize is to: Recognise and reward Nastiness in art and activism. Prizes include an Artist residency, money and opportunities to show work in UK, USA & Holland.

Votives To King Kitt and the Pixelated Pain 2018 Lady Kitt 50 pound note detail

Last year hundreds of artists from all over the world gave their time and work to Nasty Women events- the generosity was overwhelming. It’s estimated that the movement has raised half a million dollars for Planned Parenthood and other women’s & LGBTQ+ charities so far. This year Nasty Women organisers wanted to create an opportunity to celebrate those artists and an art prize seemed like a good choice! The judging panel consists of 12 Artists, curators, gallerists & activists from around the world including:

Carolina Wheat & Liz Nielsen from Elijah Wheat Showroom, New York (USA), artist and co-founder of NW Amsterdam Airco Caravan (NL), Curator & NW North East Co-founder Michaela Wetherell and me!, to name just a few. There’s so much to say I don’t really know where to start, but we’d love it if lots of North East based artist entered! Anyone who is interested can check out here.

Do you have a female artist that you’re inspired by?

So many, but not just women, not just artists… all sorts of everyone. Me and my sister just went to see Bryony Kimmings “a pacifist’s guide to the war on cancer”; it was so funny and thoughtful and generous and utterly devastating, but in a really cathartic way.

I’ve just read Scottee’s play “Bravado”- it’s had a big impact on me, I’m making a lot of work about toxic masculinity at the moment and he’s perspective as a “sheep in wolves clothing in the world of men” is very shocking and inspiring.

Betsy Greer- the mother of Craftivism!

Nasty Women North East co-founders Michaela W and Aly Smith.

Venus di Milo- a Newcastle based performer who describes herself as “just a drag queen with no arms”.

Leeanne and Gareth at Thought Foundation in Gateshead– running a stunning, creative business whilst bring up two small children….

The world is full of bloomin’ fantastic, inspiring and very Nasty (in the nicest possible way) people.

127WaysYouAreWirthMoreToMeLikeThis LADY KITT_resized

Tell me about Nasty Women?

Nasty Women is a global art and activism movement started by New York based artist Roxanne Jackson in Nov 2016 just after the election of Donald Trump. It is pro equality and anti-Trump. There have been Nasty Women events all over the world, raising money for and awareness of women’s and LGBTQ+ rights charities and organisations.

93WaysYouAreWorthMoreToMeLikeThis LADY KITT_resized

What is a “Nasty Woman”?

The Nasty Women North East’s definition is:

Anyone!!! It is not necessary to identify a women or an artist

  1. Believing in equality and wanting to protect human rights (in particular women’s rights)
  2. Believing that art (in the broadest sense of the word- poetry, dance, drag, music, knitting etc) can be used to help increase equality and protect human rights
  3. Being happy to welcome and support others who also want to do these things…..

If this sounds like you, then as far as we are concerned you are Nasty- Hurrah!!!

99 Ways You Are Worth More To Me Like This LADY K_resized

Will there be another Nasty Women conference in 2018?

I’m not sure- we won’t be organising one because we’re busy with the art prize and creating a feminist art magazine for children under 10! Also, if there was another I don’t think the same group should organise it -as a big part of the movement is about understand other people’s perspectives and doing things in a way that suits your own setting, so if there is another one I hope it’s somewhere completely different. I hope another group do organise one because I’d LOVE to go to it!

That sounds like a something, the Culture Vulture would be interested in…..how can I, and other potential Nasty Women, get involved?

People can get involved in a huge variety of ways- it’s a totally grass roots, DIY movement, you don’t need permission or any kind of initiation! So you can have an exhibition in your garage and invite your mam and 5 friends and raise money for a local women’s charity.

You can send your art work to one of the many NW shows going on around the world- these are listed in the USA website , you can submit work to the Nasty Women International Art Prize & you can volunteer to help a local Nasty women group


You can also call out inequality and gendered idiocy when you see and experience it, you can tell children you know that they are thoughtful and strong and funny and creative and fierce and fabulous regardless of their gender. You can listen, really listen to the next person who says something sexiest because being Nasty is about being open minded, it’s about understanding perspectives that are not your own and looking for long term solutions.

54 WaysYouAreWorthMoreToMeLikeThis USA LADYKITT_resized

But ok – we are kindreds…..but let’s get back to you – Lady Kitt; what projects do you have planned?

I’m focussing on my projects “Worth”, “King Kitt” and the “Making Manifesto”.

Throughout 2018, to coincide with the centenary of (some) women’s right to vote in the UK, I am making a series of works called the “worth” portraits- inspired, in part, by Caroline Criado-Perez’s campaign to have Jane Austin’s image on the Bank of Engalnd 10 pound note. When that campaign was going on I was horrified by the abuse (including death threats) Criado-Perez received for wanting to celebrate the achievements of women in the same way the achievements of many men have been celebrated for years. The works are portraits of amazing women made by cutting love heart shapes from real £50 notes, each one depicts a woman who I feel needs celebrating. I am always on the lookout for new subjects, so if you know a wonderful women who needs celebrating please get in touch!

I’m also hoping to sleep quite a lot after next week as that’s something that’s been a bit neglected of late….

Votives To King Kitt and the Pixelated Pain 2018 Lady Kitt

What does being a feminist/megababe mean to you?

For me being a feminist is not just about women’s rights- it is about equal rights for everyone. The “King Kitt” series of works are about toxic masculinity- which I feel creates a series of circumstances that can make men comically manly, dangerously macho and devastatingly vulnerable. According to the Office for National Statistics- of the 5,965 suicides registered in the UK in 2016, a total of 4,508 were male and 1,457 were female. More equality will, hopefully, create a society where shocking statistics like that can become historical records, not lived realities.

The Making Manifesto is a research project based at Byker Community Centre about the benefits of community making. It involves a lot of the stuff I’ve ranted about earlier- hi art elitism and Making physical things and giving people agency!


Wow – ok so for me as The Culture Vulture- I feel so inspired – this entire interview has given me a kick to be more Nasty, to be more experimental and to seriously consider doing something North East Nasty Women Conference related.

Big love and happy International Women’s Day Culture Vultures.

Amy Lord; live art, brain-feeding & 90s at Our Time.

Amazingly talented people walk among us often hidden and unheard….I’ve really learnt that a lot recently. Not all creatively talented people call themselves artists – they are ordinary people, in everyday jobs and yet, they have talents so unbelievably amazing at their fingertips.

And often no matter, how engaged you are in the cultural sector and how “aware” you think you are – I’m always surprised when there is someone, doing something so amazing and fantastic and I didn’t know about it!? Sounds ridiculous – but I prize myself in being in the know and the now – so when I stumble across someone new and exciting, I’m both blown away but a little bit cross at myself – how did I miss this!?


I first heard of Amy Lord, when a friend of a friend told me about this “project” in Newcastle taking over a townhouse and how they were exploring happiness and we had a mega long conversation about what exactly happiness is and how society has this version of happiness and zen……and I’m just over here, being ridiculous, not getting up at 5am and doing yoga and even when I’m happy, my world is chaotic.

So, this townhouse take over culmination was over Late Shows weekend – which is my busiest weekend – I never get to experience the Late Shows as an attendee – I work it and usually on the Gateshead side. So obviously, I missed Amy’s ‘Experiments in Happiness’ take over.


Fast forward a few months and I’m sat listening all about the progression of this year’s Juice Festival and Our Time – Helen who is programme director said the ultimate which immediately secured my project buy in…..

“Rachel – so there is Amy Lord, she’s this mint visual live artist….she’s doing this Art House piece and you’re going to love it, it’s all about the 90s”.



So being the creep, I am – ultimate stalker mode started and what I discovered was an artist that is creating and doing very interesting work in collaboration with some of my favourite people at the moment in the North East Cultural Sector.

I really like visual live art – it combines some of the elements I love most about sculpture but encourages an evolving engagement. Amy describes it as a “multi-textured and layered encounters and experiences” and I think it sums it perfectly. So many elements and things brought together – with a strong focus on visual……

As someone with a passion for events – I really like Amy’s work from an space curation and the facilitation and provocation of audience experience…… that really excites me and I’d love to work with her in the future.

So now over to Amy…….


Who are you?

Hello! My name’s Amy, I’m 31 and I’m from Northumberland! (In the style of Blind Date).

I’m an artist but I also run an events company on the side called Lemonade and Laughing Gas. I’m currently living in between London and Newcastle. I spend a lot of time on the Virgin Trains East Coast train route at the moment…


Tell me about your arts practice?

I make live art. For me, this means creating anything from an interactive installation, a game, a video, a crafting activity and a performance. I always want my work to be personal, political and to not shy away from difficult or challenging subjects. Sometimes my work can be more about the process than the end result. I love working with different groups of different ages to capture the full spectrum of human experience.


Tell me about a recent project?

My latest big project in the North East before my Our Time commission was Experiments in Happiness. I took over an empty townhouse on Grey street and filled it with installations and experiences exploring ideas around happiness and mood. 600 people turned up over 2 days – the interest in the project totally blew me away and has just made me want to do more stuff here.


Everyone has a super interesting story about becoming an artist – tell me about your journey into Arts?

I’ve always got a buzz out of making things from a young age, but I think my first step into the arts was Uni. I was lucky to get into LIPA (Liverpool Institute for Performing Arts) and studied Theatre and Performance Design. Although I loved the course, I knew I didn’t want to be a theatre designer at the end of it. A tutor there introduced me to live art and more experimental theatre in my final year, and I was hooked. My first solo project was a work in a derelict restaurant about the media and pressure on body image for women (2007).


Piece of advice for someone thinking about a career in the arts?

Try and build in time for ‘brain feeding’. It may feel indulgent but if you don’t keep seeing stuff, reading things and learning new skills, sometimes the inspiration well can start to dwindle!


Why did you apply to be a part of Our Time?

I liked the structure of the ‘mini commission’ – creating something quickly for one night only appealed to me, as well as the positive feelings about the area and the past Team Juice were wanting to emphasise.

Tell me about your commission?

Research is often at the core of the work I make, this commission is no exception! I spent 3 days rummaging around news archives and microfilm to find good news stories from the 90’s – specifically in Newcastle and the North East.


Then, we had a workshop with Team Juice to whittle these down and find out what was most interesting. We did some creative thinking and finally, shot some video on smartphones to make into a film that will be projected on a loop throughout the evening.

We’ve chosen to show the film in this bonkers tunnel in the museum, which we’ll be filling with 90’s music to help transport people back to that time!

What was the inspiration?

DIY culture/the contrast between technology in the 90’s and now.

The idea could have happened for any decade really, but I chose the 90’s because not only is it having another moment in the sun but it’s also the first decade I’ve felt properly nostalgic about, as I was 15 when the millennium arrived!

I used to think people obsessing about the 70’s and 80’s were just living in the past, but now I totally get it! Nostalgia and remembering those super important formative years can be totally delicious! As long as you balance it with living in the present too…I also can’t pretend I wasn’t influenced by watching Sing Street.

What do you want attendees to take away from your installation?

Fun. And maybe realising how many amazing things happened in the 90’s for our region.

Top 5 90s songs?

Wow, there are so many. Here’s some of the top of my head (that may have found their way onto the soundtrack!)

Dreams – Gabrielle

What’s Up – 4 Non Blondes

Another Night – Real McCoy

Sunshine After the Rain – Berri

The Whole of The Moon – The Waterboys


Favourite 90s moment?

When everyone thought the world was going to end once we got past midnight on New Year’s Eve 1999.

Have you seen the rest of the Our Time line up? What bits are you most excited for?

I’ve worked with Zoe Murtagh on my last project so obviously I’m a fan of her, and am looking forward to seeing what she’s created with ‘It Was Once A Dream Interactive Trail’. I also create a lot of multi-sensory work so I’m looking forward to getting in the Von Tuur Salon.

Also generally, we’ll be in a museum, at night, with a bar…absolutely winning!

Well, I’m just such a fan of so many things Amy said….. I’m all about trying to make time for “brain feeding” and the 90s is absolutely my jam……


Thank you Amy….. I’m super excited to see and experience your piece.

I will be at Our Time at Great North Museum on 21st October – you’ll probably find me lurking and obsessing over Amy’s 90s piece and involuntarily breaking out into song and dance when ‘SunShine After The Rain’ comes on…..

Culture Vultures – this is the ultimate Culture Vulture event….. don’t miss it or Amy’s lush installation.



Moth Studios: a studio putting taxidermy and entomology at the heart of the creative community in the North East!

It’s been a while since I blogged….I’ve missed it. I’ve missed seeking out new things, people and places to tell you about. It’s not that I didn’t seek them out – of course I did, it’s what I do and my notebook is as always, full of scribbles, names, ideas and things I’m looking forward to exploring in the coming months. It was more, I just didn’t have the time or the energy to do anything……

Those who really know me, know I’ve worked my socks off for the past 6months – I’m a prolific workaholic and an addicted culture vulture……but this year has just been something else – life in the fast lane, times a million. I don’t even know how it’s September or how I got through that workload, but it is and I did and I’ve worked on some fantastic projects so far and many more to come…..

I’m desperately trying to stand still and look back and reflect – but my head is just buzzing with all the ideas I’ve put on the backburner, collaborative opportunities I’m just itching to explore and new beautiful projects, that are at this point all mine to run free with…..

So even though I’ve had my head down to the ground, I’ve been watching, taking things in and for some, as creepy as it sounds (and I’m pretty good at being creepy), I’ve been admiring from a far. And if during this period of living amongst tornados of colliding priorities and projects, you have made me sit up and take notice of what you’re doing…….well you’re obviously doing something right.


Have you ever had love at first sight moment? You get butterflies, you’re consumed, confused, overwhelmed and the world really does stop and skip a beat….. I had a moment like that when I stumbled upon Moth Studios in Ampersand Inventions earlier this year. Their studio wasn’t even open but I was peaking through the glass (told you I was good at creeping!) and it looked like the most interesting, weird, bizarre and absolutely captivating studio to work in. From the work space, it screamed that something really exciting and different was going on – a very different creative offering………

It was a bright space, full of animal and insect touches – think Tim Burton-esque meets very talented taxidermy. Of course, I’ve always been fascinated by taxidermy and entomology– the practice, the art of it and how it has gradually moved from quite a niche thing to infusing other types of art forms – especially stop-motion animation but I’ve not really had that much exposure to it. However, their studio managed, whilst being full of dead things, to feel absolutely full of life and energy…..


My Ampersand tour guide at the time was all round megababe Melanie Kyles, who told me, that Moth Studios offer workshops and taxidermy sessions…… This peaked my interest absolutely and the more I thought about, the more it made absolute sense that this studio enabling people to experience taxidermy and entomology should sit right at the heart of this creative community.

As you know, the Culture Vulture is allllll about new things, different things and even bizarre things and Moth Studios is providing an offering that is so different and an experience like no other – so this is right up my street. And it’s not just me who thinks so – through-out this busy period my social media has been full of people from the North East championing their work and attending their workshops – from tiny skull sessions, to butterfly pining, to taxidermy…. I’m certainly not the only one fascinated and intrigued by this artist studio and exactly what goes on inside its doors……..


But for this Culture Vulture – it’s the processes behind the finished items that really interests me and the symbolic nature of the pieces, their silhouettes and the slightly gothic nature of the materials being worked with…….and so my love at first sight with Moth Studios started – at first of course, from a distance and now, well I’m head over heels and I just had to find out more so I caught up with Founder, Sherene Scott who started this adventure in 2014…..


So hello Sherene! Tell me about Moth Studios? Who are you? What is it all about?

I’m Sherene Scott, director and owner of Moth Studios. We are a contemporary ethical taxidermy studio located inside Newcastle city centre.

What was the inspiration behind starting it all?

I am an artist and taxidermist; I’ve had formal training, from Newcastle University and around the UK. The inspiration for Moth began in 2010 whilst I was still a student; I began training in taxidermy and I had an amazing interest for death and preservation; as strange as that may seem. My passion came to light when I realised it was a dying art form, the skill involved and particularly that it is a male dominated field of work.


How did you end up residing in Ampersand Inventions? I’ve peaked through the doors of your studio when I visited and holy moly, it’s a beautiful space!

I joined the Ampersand ‘team’ before the space was even erected, as I had friends that were resident artists and directors of the spaces. So you could say I was there from birth and build!

“Birth and build” – I really like that! Here in Ampersand you’re surrounded by other creatives and artists and the building as a whole, all with different backgrounds and practices etc; how does that influence you?

It’s a warm yet very professional feeling working so closely with other artists, designers and small businesses. We all have each other’s backs and we’re never short of giving and receiving ideas, advice and networking whilst we are “living together”.

Do you think taxidermy is making a real come back – it seems quite fashionable at the moment and gathering interest?

I think in the last few years, there has been a complete revival and resurgence in taxidermy. It’s an amazing feeling to see people interacting, enjoying and educating themselves with the idea of AND physically getting involved with life, death and anatomy.


There also feels like there has been a big shift from people seeing it as a technical process but something not often openly talked about or featured in a “cabinet of curiosities” to now being much more mainstream, with greater interest in both the process but also in it as an art form? Do you feel that too?

There has indeed been a shift in the way people see taxidermy… I.e. no longer only in museum displays, curiosity cabinets and dusty old traditional taxidermy with complicated dioramas.

Now because we have so many taxidermy laws and there are no longer illegal ‘trophy rooms’ for silly status value; I would like to think we no longer see taxidermy as a bad practice, but seen as beautiful, artistic and ethical pieces of natural beauty, with the dioramas now being your own home, space or a unique 21st century touch.


Tell me about some of your upcoming workshops – they are really unique and interesting? And how can people book onto them?

Moth Studios hosts many workshops and classes alongside their own work and online shop. We have beginner’s taxidermy and entomology (insect pinning) classes throughout the whole year!

Autumn/winter season is very popular for Moth… We have classes ranging from bugs to mice to squirrel, skull decorating, birds and even our specialised workshops themed around Halloween and Christmas, where we will be having bauble and wreath gift making evenings!

All of our up and coming classes are posted on our Facebook events page and I can be contacted directly via email contact@mothstudios.co.uk to get booked onto a session.


Where do you source your materials from?

All of Moth Studios specimens and skulls come from responsibly sourced donations and finds from various different people, rangers, aviaries, farms and so on.

Do you take commissions?

Moth Studios does take commissions and projects; mainly specimens that have been found or that Moth already has. However, I do not commission pets…….

Do you have any new projects on the horizon and what’s next for Moth?

We have many exciting projects on the horizon and 2018 will see a whole new class list, new works and entire new collection in our shop. We will also be touring Moth Studios classes to exciting external locations in the North East and down south!


Well that sounds massively exciting, thank you Sherene and if like me, you want to check out one of their classes – well why not come along with me and be my date…..I really fancy something Halloweeny or a Christmas wreath….get in touch and let’s do it.

Keep in touch with Moth via; Instagram: moth_studios , Facebook: Moth-Studios , Email: contact@mothstudios.co.uk , Website: mothstudios.co.uk or No: 07958658009.

Until next time Culture Vultures…..



GemArts Masala Festival 2017; a South Asian cultural infusion of a festival……

Working in Culture within the North East is possibly the best sector in the entire world to work in; it’s just mint! The ideas, the events, the projects, the people and beyond. As a none people loving people person, I really finding my little space in the world, with such brilliant people.

The Cultural sector in our region is just so diverse – I’ve never experienced anything like it. The cross fertilisation of ideas, partnerships and collaborations and the ever emerging willingness to work together culminates to ensure an exciting bubbling richness of lush things and people.


GemArts and Sunderland Stages present Gods & Mortals at Sunderland Minster

The sector is also very close knit – you can attend any event really and see a smattering of friendly creative faces smiling, championing you and your projects and attending the things you do. It’s a like a secret club of lushness…… the people you work alongside or attend their things and champion, very easily move from project partner or such and such from that organisation….and become friends. Real friends and people who you celebrate every cultural moment with.

Sinead from Gem Arts is one of those people (and in fact really the whole Gem Arts team….but Sinead really likes cats and is quite ridiculous like me, so she’s my favourite). I’ve known of Gem Arts for some time and championed them for as long as I have worked in the cultural sector….. their Mini Mela was my induction into working with a large scale cultural children’s event.


GemArts is a dynamic arts development organisation presenting South Asian arts. They produce and programme new and exciting culturally diverse arts, by creating and developing high quality concerts, events, festivals, workshops and commissions with regional, national and international artists. Every event I’ve attended has been a cultural hot pot and celebration of South Asian diversity and learning about respective cultures.


Last year they launched Masala Festival and I had the pleasure of championing it as part of Gateshead Arts Team and of course, as Sinead’s mate Horts. So as we are literally about to jump into the second Malasa Festival (deep breaths Sinead and team – it’s going to be mint!), I thought I’d take the opportunity to catch up with her and find out what this year has in store for the region alongside digitally championing to my fellow Culture Vultures what a cracking week this is going to be…..

Well hello Sinead, so first up; what is Masala Festival?

Masala Festival is the North East’s very own, award winning, South Asian Arts Festival, bringing a mix and blend of the finest art and artists to the region for 7 days in July starting on 17th July.


How many years has it been running and what kicked it all off?

GemArts launched Masala Festival in July 2016, offering a truly eclectic programme, spanning traditional and contemporary arts. After 16+ years presenting diverse arts in the North East, we decided it was time to put our expertise to good use, and create a brand new Summer Festival, showcasing artists from the UK, South Asia and beyond.


This year the Masala Festival programme explores partition, migration, globalisation, identity, heritage, tradition and modernity, and marks the 70th anniversary of Independence for both India and Pakistan, something we were already starting to think about in 2016.

You won a Culture award for last year- tell me what that was like?

Recognition is the icing on the cake, alongside the incredible support we continue to receive from participants, audiences, trustees, volunteers, sponsors, partners and local communities, to whom we are hugely grateful and celebrates the creative talents of artists from the region, across the UK, South Asia and beyond.


It was a joy to collaborate, connect and celebrate with thousands of people from across the region at our first Masala Festival, and we can’t wait to do it all again.

Receiving an award for something your team is truly passionate about is a dream come true, and has given everyone an even stronger drive to continue championing creativity and diversity at every level, supporting young and emerging artists, and offering people from all backgrounds and ages, community groups and schools, engaging opportunities to take part in our culturally rich and diverse arts offer.

So… now 2017; what’s coming up for Masala?

This year’s Festival (17th-23rd July) will ramp things up, building on our award success we’ve been even more ambitious, and added exciting collaborations and takeovers to last years list.

GemArts has commissioned work from celebrated companies and artists  and the programme is packed; award winning poetry readings (Daljit Nagra: Heritage and Identity), specially curated short film programmes (Changes), celebrations of Sikh soldier’s music tradition and contributions to the First World War (Sacred Sounds), leading choirs from India (Gandharva Choir), two nights of powerful theatre (No Dogs, No Indians), Masala Festival takeovers and collaborations (Q Festival, Trinity Square and Dabbawal), Mini Mela family fun days, Indian storytelling shows (Henna),  talented musicians fusing jazz, electronic and Indian classical music (Sarathy Korwar), folk music and dance (Rajasthan Heritage Brass Band),  film screenings (The Jungle Book, Ghandi), exhibitions (AURORA by Jayamini de Silva), food events (Biryani Club), fantastic workshops (Bollywood dance, Meditation and Yoga), talks and demos (including GBBO contestant Chetna Makan) and lots more……


What should I not miss out on?

We think you should attend everything, but there probably aren’t enough hours in one person’s day. Three events we know the Culture Vulture will really enjoy would be;

SACRED SOUNDS – A national project called Sacred Sounds, which tells some of the largely forgotten stories of British India’s role in the First World War. Using archive footage, letters, photos, music and poetry, SACRED SOUNDS is a multi-art form performance which explores Sikh musical heritage and traditions, which soldiers took with them to the battlefield.

HENNA INDIAN STORYTELLING SHOW – As part of our Q Festival takeover we’ve invited international storytellers Peter and Gorg Chand to tell a very special story. On the eve of a wedding a young bride-to-be is having henna applied to her hands. As the patterns emerge, the stories begin to unfold… love, loss, betrayal and Bollywood! Plus GemArts Henna artists will be on hand to create beautiful designs for any of our audience who want them.


NO DOGS NO INDIANS – A powerful new play from Siddhartha Bose. Three intertwining stories, spanning decades, explore the effects and legacy of the British in India in a powerful new play to mark the 70th anniversary of independence.

I’m always up for trying something new and out my comfort zone- do you have any recommendations?

CHANGES: stories on the edge will certainly make audiences ask some serious questions, and think long and hard about the world they live in and the resilience of people. Following last year’s successful ALIVE film programme, we’ve teamed up with creative producer Bobby Tiwana again, who has curated a stunning line up of short films for CHANGES; a programme of lives on the edge – personal and political conflicts test human resolve.

My little mini Culture Vulture Beck (one of my best pals little boys) – he’s really into trains, stamping his feet, stairs and exploring- anything for him and his lush fam?

There is plenty for mini Culture Vultures and their adults to get involved in during Masala Festival. We’re starting our Q Festival takeover with Bollywood dance classes for ages 2+ from 9am, and then from 11am we’ve Stories from the Punjab and Beyond for ages 5+ , a fun, interactive, and lively session of Indian tales.


Part of our Movies at Masala programme with the Jam Jar Cinema, shows The Jungle Book at 11am on Saturday morning.

Sunday sees the return of our popular Masala Festival Mini Mela, which last year welcomed more than 500 people throughout the day. Like all GemArts Mini Melas the day includes a range of drop in arts workshops, from Rangoli, Kite making and Silk painting to Bollywood Dance and Dhol drumming, plus we’ve invited an amazing group of musicians to really bring the space to life, as the Rajasthan Heritage Brass Band will perform throughout the day.


Heard about the curry night at Arch 16 which obvs I’m all over that…..I like my curry to be an experience…..

BIRIYANI CLUB AT ARCH 16 – We love working with our friends and neighbours, and when we read about Arch 16’s curry clubs with Ashiyana Café we knew we had to chat Masala Festival with them. A tasty curry for less than £10, and GemArts DJs spinning the best bhangra hits, what’s not to like?!

CHETNA MAKAN CHAI, CHAAT AND CHUTNEY – As big fans of food shows, food cooking and food in general, we were over the moon when former Great British Bake Off contestant Chetna Makan was available to deliver a cooking demonstration during Masala Festival. Chetna will share stories from her travels around India for new cookbook, Chai Chaat and Chutney, and attendees will get to taste a selection of delicious street food recipes created before their very eyes!


Well that’s all a little bit amazing isn’t it – so make sure you check out GemArts Masala Festival next week…..you’ll see instantly why  it won a Culture Award and how fantastic it is – every night a brand new experience of diverse lushness – so much to see, do and of course Culture Vultures, EAT!

So bye for now Culture Vultures and Sinead, well I’ll see you on the other side of Masala Festival…..


The Culture Vulture xx

Mobile; a class theatre show about class.

I don’t come from an artsy back ground; I come from one in which new experiences and trying different things was encouraged. My first and only experience of the theatre, as a child was either through primary school trips or my yearly panto trip. It wasn’t until I was older, as a shy introverted child, that I decided getting involved in drama was a good idea and one, which pushed me out of my comfort zone. I acted in plays, wrote stories and took countless different drama exams – theatre and performance were important as they not only let me challenge myself but they also let me be myself. I found the confidence to have a voice as opposed to a teen that had a million and one thoughts and things going on in my head, but just never had the courage to say them. This will sound hilarious now as someone who often never stops talking or putting forward her opinion…..


Now as an adult, I engage and enjoy theatre from the other side – as an audience member. I love theatre and performance for many reasons; firstly – it’s pure escapism and storytelling at its very best. You can lose yourself in another world, whilst having a really lush experience or evening out. Secondly, it’s a shared experience and moment – an absolute one off that you share with the audience around you, the people you’ve come to see the show with and of course, the cast and crew. And finally, and yet mostly importantly, it offers a different perspective of a theme, a story, a thing and triggers reflection and a growing sense of a new understanding.

I love things that make me think – things that challenge my perception of life and theatre can and does, open you up to a whole new world. In some instances, it might be a show of make believe and in others, many of my favourite shows, the story resonates and sits very close to home, exploring societal themes and stories.


Couple that with my love of something unique; what I like to call a “sneaky hidden cultural adventures” – an arts experience in an unexpected place; well I was thrilled to go and see Mobile, a performance piece by an all-girl collective called The Paper Birds (gan on lasses!). Mobile was brought to Sunderland Winter Gardens on 28th and 29th May by the lush Sunderland Stages. Sunderland Stages take theatre and performance to unexpected places across Sunderland and let’s be honest, there is nothing more unexpected that a theatre show next to Mowbray Park in a caravan……

You can watch the Mobile trailer here!

The dynamic company The Paper Birds comprises Artistic Director Jemma McDonnell, Kylie Walsh and Bonnie Mitchell. After their first show, A Smile Fell in the Grass, featured in the National Student Drama Festival, the company formed in 2003. 14 years on The Paper Birds strive to create and share devised work that is culturally, socially and politically important in day to day life and often tells and prioritisies the stories and voices of women.


Mobile is the second of a trilogy series about class; the first in the series was a show called ‘Broke’. Many of you may have seen the piece already when it appeared in 2016 at Live Theatre and received smash hit rave reviews. The Guardian has even reviewed it: “Mobile neatly turns the caravan into a magic box where every cupboard and drawer springs a surprise”.


But for those who haven’t seen it; Mobile is a piece entirely set in a caravan, the audience is invited inside the caravan after playing name games with each other outside. The set-up is one that reminded me of a festival / camping feel so automatically I felt at ease and was enjoying chatting to other audience members.


Once inside the caravan, the story is told with one narrator and explores the themes of class, home, society and identity through a whole host of appliances, which are used in a really innovative digital means to give voices to other “characters” sharing their story and experience of class boundaries, barriers and labels.


The show was interactive, thought provoking and exceptionally emotional in parts. For 40mins, so many class-related questions were posed, stories shared and it was a beautiful production. It was interesting to explore how much of our sense of self, is defined by birth right, labels given to us and societies construction of who and what we are, what we could be and who we should be.

I caught up with Jemma McDonnell, the artistic director of Paper Birds to find out more about Mobile and to dig a little deeper about the show…..

Tell me about Paper Birds and the inspiration behind the name and the collective?

The idea was based on taking a piece of paper and creating something new from it and to be honest I think at the time I had meant origami but was not sure of the spelling so wrote ‘paper bird’.  Because we are a devising theatre company and we try to make work that is very current this felt like it would symbolically work for the company and our aims.

Now tell me about Mobile; a play that is set inside a caravan – what’s it all about?

We were utilising the research of a sociologist at the London School of Economics (Dr Sam Friedman) about social mobility and it inspired us. Enshrined within this is the notion of class and social structure in Britain both past and present. We wanted to tap into how we all feel resonance with different classes, and the universality of the issues they include; family, home, ambition.

What was the inspiration behind setting the piece in a caravan?

The caravan symbolised for us, holidays and nostalgic memories of family; we wanted to use the intimacy of such a small space to be able to explore things theatrically that could never work on a stage. It was the proximity of the audience to the performer and the immersive aspect that enticed us.


We were also really attracted to the idea that the caravan itself has experienced social mobility; 100 years ago the caravan was an affluent symbol, and since then it has both risen and declined in popularity. In particular it now represents a ‘working class’ holiday – and the complexity of this shift seemed to fit perfectly with the subject we were exploring.

It must have been a real challenge creating and playing in such a small location as a caravan, with just eight people sat so close to you?

The challenges certainly include how you can use the space; there’s not a lot of room, especially when the caravan is at capacity! We had to be really inventive with the way we transformed the space with technology and AV design. It also limits the capacity for cast members/actors; we found creative ways of including as many voices and stories as possible despite only using one actor.

But the best thing is that we don’t need to rig and focus all the lights at each new venue we tour to- as they are all in position already!


Considering the volatile nature of modern politics, are there any timely messages that Mobile has to offer?

The main political strand that evolves throughout the piece relates to the notion of fairness; in how our culture lays out the promise of a fair and just society for all where we are free to prosper and rise. But as is experienced by our character Cindy, those who do not start with financial advantage are very rarely rewarded with the same level of upward mobility as it would seem.

You’re currently touring the show up and down the country, what has the audience response been like so far?

The show is always received with positive reactions – being so close to the audience and sharing the enclosed space means that audience experience is always clearly obvious; most people experience a reflective and emotional engagement with the issues and themes and often this is characterised by shedding a few tears! But it’s not all doom and gloom – there are plenty of laughs along the way!


What can the audience expect getting into the caravan and what will they take away?

We hope that people come away with a new found appreciation for all that their family and upbringing involved, that they leave the caravan thinking about class and how social structure relates to them. We hope that they identify with if not one, but several of the characters they meet along the way, and above all else – that they are wowed by the technical wizardry installed into the humble interior of a family caravan!


Well thank you Jemma – what a pleasure and good luck with the rest of the tour. Can’t wait to see what The Paper Birds do next!

Still curious about Mobile? Well you can watch audience feedback here and The Paper Birds are currently touring the show across the Summer, so make sure on your Summer adventures to plan in time to see this amazing show.

Big love to Sunderland Stages for bringing this lush and thought provoking show to the North East….they are shortly announcing their Autumn programme so keep an eye out – but Mobile certainly gives you a flavour of the different type of theatre shows to expect.

Even bigger love to fellow Culture Vultures – see you soon!

Creative Start-up Shepherd Illustration…

The heart and soul of Culture Vulture is my passion for culture and arts in the North East……I’m on a cultural adventure to seek out and discover as many things and creative people as possible. I’ve built a business based around seeking the unfound and going out and about in the region…..literally my dream.

My starting point with artists and creatives is them as individuals; teasing out their story and perspective. I don’t just want to see an arts piece or performance; I want to experience it, understand it, question it and learn from in. I am fantastically lucky that in my day job and as The Culture Vulture, I get to meet an array of creatives and artists. I really get to know them and they become a part of the Culture Vulture network and family. I look out for them and champion everything they do……..what is so brilliant about meeting so many people and hearing their stories, is the different journey people have often taken to become an artist, a creative, a creative business, practitioner, a performer, designer….however, an individual sees themselves. And this is why I do blog interviews….to learn more , explore but also for you lovely lot………

So pleased to meet you Lauren Shepherd, lush creative business and recent start up – you will be able to meet her at the after-party at Newcastle Start-up Week……….


Hi L, Tell me about Shepherd Illustration?

Shepherd illustration was born out of my accidental habit of drawing. Each art course, I have ever taken, be it fine art, spatial design or animation, I have always found myself focusing on drawing. Many art forms need so much equipment, where as to draw you just need a scrap of paper and a pen.

I like being quiet (this will come as a surprise to anyone who knows me as I talk…. Too much) but when I am on my own, I just love to be quiet; drawing offers me that sanctuary. I ended up with a bunch of drawings and wanted to do something with them; at first I found it really hard to focus on creating a product and still now, I realise I have gaps in my product range and I don’t focus on creating a card for every occasion. I like to give the customer chance to think for themselves and to become a part of the creative process. I’m still learning and I enjoy meeting people on this journey of turning my passion into a business.

Tell me about your journey setting up a creative business?

At first it was very exciting and still is; but it’s hard receiving knockbacks especially when I still work full time and come home after a long week to receive emails saying “no”.

It’s long hours and hard; sometimes you can’t see friends or fit in going to the gym. It’s really hard when you feel like no one sees your work and you spend more on products than you make. But then all of a sudden someone says “yes” and I get to do something extraordinary. For example I love to ski and approached Chalet Rosiere as I had heard they offer places to artists; they emailed back and were actually interested in commissioning me to do some work for them! I was totally overwhelmed but I grabbed the chance and spent the next 2 weeks creating 8 new pieces of work for the chalet which I honestly think are my best to date. 1 month later I was skiing in the Alps hosted by the wonderful owners of Chalet Rosiere.

Also if you’re creative you just can’t help it, you have to make!

sloth2_mock_up copy

I really love your branding – what was the inspiration behind that?

My branding comes directly from my illustration. I wanted to create a brand rather than just a collection of drawings; I try and keep everything as stylized as I can. When I first started drawing everything was very macabre. But at that point, I was a young singleton drinking too much gin; I don’t think it’s any coincidence that the happier and more secure I have become in my life, the more romantic and positive my illustrations have become.


Do you have an inspiration behind your style of work?

I am hugely inspired by botanical illustrations and Thomas Bewicks’ engraving. I feel my drawings are a modern interpretation of his engravings and share the same love of the countryside. This could be why I unintentionally draw solely in black ink. But I also feel again that it is the simplicity of only needing one sheet of paper and a pen to be able to start work. I often look at painters and feel a pang of jealousy when they are sat amidst huge boxes of paints and turps, paintbrushes, easels and canvases but then I remember that’s not where I currently am artistically.


What about your love of dogs?

I love dogs! I am a dog person. My miniature dachshund isn’t my baby; but O truly think she’s a part of me. I got her when she was 10 weeks old and I was only 19. She has travelled the length of the country with me and looked after me much more than I have her. This year we have been together for 10 years and I can’t thank her enough for getting me through some very hard times. I’m very lucky to have a great team at YourFilm and my boss’s even let me sneak her into work so she can snooze beneath my desk.


What was your journey into animation? You work for Your Film?

I came to study animation at Northumbria University and completed my degree in Motion graphics & animation BA. I was not necessarily the best person on my course and often felt I wouldn’t be able to find a job in the field, especially in Newcastle; a city I fell in love with and didn’t want to leave.  Through hard work I found some really great projects to work on even before graduating; this gave me enough experience and confidence to apply for my job at Yourfilm.

A few people applied from my course and I honestly didn’t know how the interview had gone, but only a few hours later Matthew rang me to ask me when I could start. I couldn’t believe it and screamed down the phone…. In hindsight I wish I had played this cooler. Fast forward nearly 4 years and I am still with the company. It is a fantastic place to work and being part of a small team means I have full control over the projects I work on and am constantly learning.

What’s next for you? Next project?

I currently only sell through a few independent retailers but would love to move into more shops and get my products noticed by a larger audience. Fingers crossed I will have some exciting news on the horizon soon. I have also been asked to be part of a new exhibition in York and am working hard on a new product range for the Thought Foundation.


Creative, artist, animator, all round absolutely lush megababe gin lover Lauren Shepherd………..you can see more of her at Newcastle Start-Up Week………