La Hausse Your favourite magazine – Issue 2 - January 2012
New Year New Look New Beginnings for Artists from all fields
to promote their work
38 Bumper pages Features • Articles • Portfolios • Workshop
In This Edition - Sterling Castle Residency. An article about FIONA LEISHMAN
January 2012
CONTENTS
6. Michael Kirchoff
An Enduring Grace
10. Soft Pastels & Oils Rob Pease
16. Workshop
La Hausse a window on the world of art
EDITOR David Oddy REPORTER Ann Tocoda
Jenny Johnstone
EDITORIAL ASSISTANT Linda Buckley
18. Ah! Les Francais
PHOTOGRAPHER David Oddy
David Oddy
20. The Valley Of The Moon Stephen Najda
26. Stirling Castle Residency
CONTRIBUTORS Michael Kirchoff Rob Pease Jenny Johnstone Stephen Najda Ann Tocoda Tracey Pacitti
AnnTocoda
28. Easy Art Tips Article
30. Shout Box
Readers Letters
30. Broken Colour Technique Tracey Pacitti
34. Bi Polar
Manic Depression
36. Acknowledgements
EDITORIAL ENQUIRIES editor@lahausse.co.uk This the Fifth Edition of La Hausse embraces the New Year and enters the year of the London Olympics Copyright Š 2012 La Hausse Acknowledgements: Page 36 The design and contents of this Magazine are fully protected against copyright and may not be reproduced in any way without permission. The copyright of articles, advertisements etc contained in the Magazine is retained by the author and is reproduced here in good faith . Articles in this issue do not necessarily reflect the views of the Magazine and whilst we will always endeavour to do it La Hausse is not responsible for the return of any photographs or articles supplied for inclusion in the Magazine.
Copyright & Legal
Cover Photo: Rob Pease 2|
l a ha usse
EDITORIAL |
NEW YEAR NEW VIEWS
YOU CANNOT PLOUGH A FIELD BY TURNING IT OVER IN YOUR MIND
Welcome to the New Year and to hopefully new adventures and exciting projects. The first year of La Hausse has been a great learning curve for myself and along the way I have met some wonderful and interesting people, made some exciting new friends and seen some brilliant work from artists throughout the
world. This promotion of unknown and maybe well known artists from all fields will continue this year and I am always on the lookout for work that stimulates, questions and maybe even annoys the viewer or the reader, so if you are such an animal, or maybe you know of someone who just wants a push, then this is where La Hausse can help. I am not a critic and I never want to be. All I ask is that you are serious about your work, have enthusiasm and would like others to see your work in the best light - printed in full colour.
To these ends sometimes I will feature work that perhaps is not to everyone’s taste or maybe even confrontational but for doing this I make no apologies especially if said work has a strong message, is thought provoking or is just plain brilliant. There are no guide lines, no formats and no instructions. Just send me some examples of your work and if it is ‘strong’ enough (in the sense of the conditions I mentioned earlier) then it will be considered for publication.
I must thank everyone who has submitted their work this last year and mention that just because it did not make the Magazine before do not worry as it may well be successful this year as La Hausse evolves. I will be building on the website over the coming months as well which will enable me to feature more artists and their work. Keep painting/photographing/writing etc. Keep submitting your work and together we will promote Art in all it’s facets to the world. Thank you.
David W Oddy Editor
l a ha usse | 3
meet the team
La Hausse DAVID ODDY
(Owner and Editor) David Oddy is the owner and editor of La Hausse. David has always had an interest in photography and art and for several years worked as a Freelance Press Photographer. He is now retired, living in France, and produces La Hausse as a labour of love - something that he has always wanted to do.
ANN TOCODA (Reporter)
Ann Tocoda was a couture fashion designer who was head hunted by the Sears Group. They opened several stores for her designed to her demands. Ann is now a Scottish Artist who paints emotive paintings of fashionable females and hearts that are heavily influenced by her background as a couture designer.
LINDA BUCKLEY (Proof Reader)
Linda Buckley has her own thriving business making precious metal jewellery. Linda has been an avid supporter of La Hausse from the beginning offering her services as a proof reader and critic where necessary.
4|
L a Ha usse
From the staff of La Hausse
Happy New Year L a Ha usse | 5
Michael Kirchoff Michael has spent his years capturing the still image of people, cultures, and landscapes from around the world, to around the block, with a very unique and distinctive style. A native Californian, Michael resides in Los Angeles, though equally at home trudging through Redwood forests, riding the rails deep into Siberia, or navigating the chaotic streets of Tokyo. He photographs with many types of cameras and film, from a clunky toy camera to a fully digital model, using each as a tool for a specific use. Yes, he’s that guy at the airport having his bags rifled through by confused security personnel, unable to comprehend as to why anyone would be carrying so much stuff. Michael’s fine art imagery has garnered recognition from the International Photography Awards, the Prix de la Photographie in Paris, and Photographers Forum; it has been published in Black & White and Diffusion Magazine, as well as numerous high profile photo blogs, and is often exhibited throughout America. He has also been an active Board Member for the L.A. chapter of the American Photographic Artists since 2006. The wisest words Michael ever gleaned from his father were to do what you love as your life’s work. Truer words have never been spoken.
An Enduring Grace An Enduring Grace is an ongoing project based on Michael’s exploration of the cultural landscape of Russia, as well as its surrounding countries and former territories that have seen its continuing influence. The images are a fulfillment of distant childhood curiosities of Russia, then the Soviet Union, as a place very few people seemed to know much about. He remembers watching black and white television in his room and seeing news reporters broadcasting from the center of Red Square in Moscow. That image of St. Basil’s Cathedral behind the reporter reminded him more of Disneyland rather than the evil empire of which he spoke. It was difficult to understand contradiction between the harsh ideas Americans had of Russia and the whimsical nature of what he was seeing on television. He now satisfies his curiosity by traveling there, and capture these dramatic scenes with the same feeling of wide-eyed wonderment he had felt as a youth, mimicing the visions of his earliest ideas of Russia. He has been entirely caught up in the beauty and scope of this amazing land, and has been rewarded with a culture that preserves its heritage and landscape so dearly held by its people. An impressive thread of history runs through Russia that never seems to have been forgotten. He believes these images require mystery from deep shadow to portray the unclear ideas of his youth, and his chosen artistic process to give them the gritty texture and depth they so deserve. With this process he also strives to strip away much of the realism and highlight the surreal qualities of mhis early dreamlike notions. These are the expectations that were not always so clear and contain a perspective slightly askew of monuments on a grand scale. The framed and fractured photographs of An Enduring Grace are born from his childhood mind’s eye, and respect a land where the strength and character of its people are also reflected in the landscape, cathedrals, and memorials to its fallen soldiers.
6|
l a ha usse
l a ha usse | 7
8|
L a Ha usse
Michael Kirchoff
www.michaelkirchoff.com L a Ha usse | 9
Rob 10 |
L a Ha usse
Pease
F
rom an early age I was always encouraged to be creative and open, as a youngster I had the best childhood possible where all my thoughts and feelings were never suppressed and I can honestly say that every memory I hold from my childhood is a happy one! I remember finding the simplest of things fascinating and it used to keep me quiet for hours. My garden was the most amazing place in the world full of nature and colour, it was definitely a haven for creativity and thought and I feel incredibly lucky to be able to remember how I saw the world through a childs eyes. Over the years I have been lucky enough to have visited some amazing places and seen some amazing things but true happiness for me came the day I saw my reflection for the first time in my son’s eyes.
L a Ha usse | 11
I craved for many years to experience fatherhood and to fall into the category of being a Dad and on the 6th March 2010 my baby boy Alfie was born. A true inspirational moment. Nothing prepared me for the emotion I experienced at the birth of my son but I knew instantly that the connection we lose with our childhood as we get older isn’t lost at all, just stored away waiting for the right time to surface again. Now in my adult life I have found inspiration from the people around me that i love and care about and I hope that shows in my artwork.
Pease
I mainly work in Soft Pastels and Oils and most of my artwork holds a ‘naive’ style.
Rob
II
12 |
L a Ha usse
I have been privileged to have met and received advice from modern day artists such as Mike Jackson, Doug Hyde, Peter Smith and Paul Horton and you will be able to see their influences in my work. Before any picture gets started I aim to work on as many sketches as possible working in different shapes and compositions until I feel it looks right. I will work on colour schemes to allow me to see which will work and which will not, this can be a painstaking process at times but its all for the greater good. Once I have decided on final positions and colours I sketch the image out at a much larger scale on whatever surface I choose to work on, mainly heavy textured card for Soft Pastel work and canvas board or MDF for Oil Paints. I like to try and complete as much of my picture in one sitting as I possibly can which can sometime take many hours but due to the natural progression and complexity of my pictures they can often need re-visiting several times for added extras to make the finished piece look as good as possible. Š 2012 Rob Pease www. robpeaseart.com
L a Ha usse | 13
la hausse
PHOTO EVENT 2012
DISCOVE
SUBMIT YOUR PHOTOS for CONSIDER editor@lahausse.co.uk
14 |
LMa a Ha g azine usse First Edition
RATION
DISCOVER THE WONDERS OF LIGHT AND SHADE
ER THE SOUL IN YOUR PHOTOGRAPHY SHOW SKILL WITH YOUR CAMERA
LIGHT AND COMPOSITION THE ART OF LIGHT AND SHADOW
First Edition
Ma L a Ha g azine usse | 15
lahausse.co.uk
lahausse.co.uk
16 |
L a Ha usse
lahausse.co.uk
You can purchase our 2012 Calendar at: http://bit.ly/vXthta
lahausse.co.uk
L a Ha usse |
17
WORKSHOP
OV E R T H E N E X T F EW E D I T I O N S WE WILL BE F E AT UR I N G J E N N Y JOHN STON E , H E R E NT RY I NTO T HE WOR LD O F A RT A ND HER OBVIOU S LOV E FO R PA I N T I N G
JENNY JOHNSTONE
J
enny is a self taught artist who began painting about 10 years ago when her last child left home. She started with watercolour because it was the least expensive medium and she thought she could get the hang of it. Buying a ‘How-To’ book by David Bellamy she worked through all the examples, carefully following all the instructions
never understanding why it worked so well for him but not for her. She persevered, with more energy and enthusiasm than skill or talent, but eventually her husband told her she would have to start selling some or stop painting because they were running out of space. 18 |
l a ha usse
So, armed with a bootful of pictures, they headed to the weekly market at Lewes and the monthly Farmers’ market in Hailsham (which had an arts & crafts section). ‘When I say we sold them’ she said, ‘ I mean I set up the display and Hubby sold them - he’s gifted that way’.
IT WAS FUN AT FIRST BUT I WANTED TO TRY OTHER SUBJECT MATTER - INCLUDING FIGURE WORK.
WHEN I SAY WE SOLD THEM I MEAN I SET UP THE DISPLAY AND HUBBY SOLD THEM - HE’S GIFTED THAT WAY
She actually managed to make a living doing that for about 3 years, mostly local scenes and pet portraits (dead dogs!). ‘It was fun at first but I wanted to try other subject matter - including figure work.’ said Jenny, ‘ I had met another local artist also selling in the market and together we started an art gallery in Hailsham’. ‘Next edition I will continue with my journey into the wonderful world of Art and how it changed my life’. © 2012 Jenny Johnstone l a ha usse | 19
by David W Oddy
AH! LES FRANÇAIS
I HAD NEVER HAD A SENSE OF ADVENTURE AND WAS NOT A TRAVELLER. I HAD NO AMBITIONS TO SEE THE WORLD AND WAS DEFINITELY A ‘HOMELY’ PERSON. I WAS SCARED. THE NEXT STEP WAS TO BE THE GREATEST STEP THAT I HAD EVER MADE IN MY LIFE. WOULD I DO IT?
WHEN ALL ELSE
Part Five - France At Last This was the time for serious thought. The last few weeks had gone by so quickly and we were sucked up in the whirlwind. Everything we owned had gone, we had cut our ties with our friends and we were now sitting in this metal box in the middle of nowhere. Reality started to sink in. I had never had a sense of adventure and was not a traveller. I had no ambitions to see the world and was definitely a ‘homely’ person. My wife took everything in her stride and her recent illness I think had made her realize that perhaps we should enjoy life more; perhaps we should be a little more adventurous.
FAILS A GOOD SCREAM HELPS
20 |
l a ha usse
This caused our first major argument in our relationship. I casually said one evening ‘what have we done?’. This upset my wife who said that I should have seriously considered what we were contemplating doing before we did it. That it was too late now to go back and that it was typical of me, rushing into things with-
and me telling him about ten minutes away he said that if I could get there between 2 o’clock and 3 o’clock the next day he would get me across to France for forty quid – did I want to book it? Forty quid for a Campervan was a bargain, so I did. When I told my wife what I had done and that we were going I do believe she still did not believe me especially as I still had time to back out.
out thought. She was right. I do tend to get ideas in my head and rush along with them not considering the consequences but this time I had excelled myself. After a ‘serious discussion’ about what we were going to do we paused for a couple of days and went to view a couple of local properties intending to stay in the U.K., but fate was playing a hand and after realizing that we were never going to get back the chocolate box house that we had just sold and
that if we rushed into buying something we would not be happy, we decided to press on with our French adventure. The next few days were spent travelling around saying goodbye to family, everyone of them saying that I would never do it, learning more about the peculiarities of the Campervan and eventually arriving on a Camping Club site about ten minutes away from the Channel Tunnel.
Next morning, after several visits to the loo plus a couple of ‘wee’ breaks on the way to Eurotunnel we arrived one hour early so that I could ‘climatise’ myself. On arriving at the kiosk the guy said that if I got into the queue already forming we could go immediately. Blimey! No time to decide, no time to worry - off we went. Thirty minutes later we were literally tearing down a Motorway in France, on the wrong side of the road, having no idea what the traffic signs meant and screaming at the tops of our voices. The adverture had now certainly begun.
This I suppose is when reality really set in for me. I was scared. The next step was to be the greatest step that I had ever made in my life. Would I do it? After about three days on this site my wife said that I must make up my mind, are we going or not. It was I remember a Thursday and I thought that I had better do something so I secretly telephoned Eurotunnel hoping that they were no longer in business or that the fare would be too expensive, but a really kind and helpful man when asking where we were
l a ha usse | 21
S
N E H P TE
22 |
L a Ha usse
N
The Valley of the Moon
A D J A N L a Ha usse | 23
The Valley of the
Take off the last vestige of West at the end of the dusty track. S open expanse of barren desert, d ering sandstone and granite pea huge buttresses, deep canyons rock, intimidating. Take those f ward into another world, keep
Soon the desert
Feel the heat, the dust, the
the sun di
Relax you ca Fight and
Water i nothing else
Walk in the footsteps of Lawren iad of nomads through the mill History is a mere dot of sand in moonsc
Time slows
The blistering sun melts weathered rock like molten candle wax; folding The
the sun, your mind starts to m
The smell of an op Strong, swe A goat is slaughtered, blo Hunger is in Food is p
There is no waste as the las
The moon rises, as big as never before. Dark is not dark, silvery moonbeams flood. This is t tions and demons, warlocks and ghouls come alive in the moonshadow of twisted rocks. the sky. A wind rushes through like a phantom, and then, all is tranquil. A shive
It’s time to sleep and dr
I had the privilege of living with the Bedouin for weeks on end, climbing ro Stephen Najda: 24 |
L a Ha usse
e Moon (رمقلا يداو)
tern baggage and drop it off Stand, looking out at a vast desolate. Look up at the towaks that rise out of the sand; s, weirdly formed pillars of first few tentative steps forwalking and don’t look back.
t overwhelms
e sweat, the sand, the sun
ictates.
annot win. you die.
is life has value.
nce, the Nabateans and a myrlennia. Nothing has changed. the geology of this dramatic cape.
s to a stop
g, dripping, rippling into bizarre, incredibly complex rocky formations. sun
melt under the blistering sun
open fire delights. eet mint tea. ood drips onto the sand. neradicable. precious.
st few embers smoulder red.
the valley of the Moon. The sound of lute music vanishes into the night. Stories of appari. The spell is broken by the sound of some nocturnal creature. Shining eyes, glitter across er of cold……. a shiver of presence. The Milky Way, so close, so bright, so magical
ream about tomorrow.
ock, exploring, getting lost, getting scared, surviving in ‘The Valley of the www.nadja.net L a Ha usse | 25
STIRLING CASTLE HAS BEEN THE INSPIRATION FOR MANY PAINTINGS AND DRAWINGS OVER THE CENTURIES – AND 2011 WAS THE PERIOD DURING WHICH IT HAD ITS FIRST ARTIST IN RESIDENCE.
STIRLING CASTLE RESIDENCY an article by Ann Tocoda
I
ona Leishman, a rising star among Scottish painters, was delighted to be given the opportunity to be the castles first artist in residence and is embracing 2012 with artistic gusto inspired by her time spent amidst Scottish heritage, breathtaking architecture and landscape. One of her aims during the residency was to capture the life of the castle as it is today – as both a workplace and a visitor attraction. Perth-born Iona, 48 who now lives in Dunblane, is the granddaughter of one of its most famous citizens, John Reith, first director general of the BBC. With her colourful and distinctive style as a landscape painter who especially enjoys working in oils, she has become increasingly popular with galleries and collectors across the UK and overseas and so the sight of Iona sketching and painting within the castle did indeed show the castle as an artistic workplace and provided an interesting attraction for visitors during her 6 months residency. Iona who has skills in craft as well as drawing and painting also spent time during her residency working with school children and community groups, helping to develop the creative talents of children and adults – and supporting high school students working on portfolios for art exams.
to make the best and most imaginative use of Scotland’s national heritage. I met with Kirsten Wood, Stirling Castle education officer, who was full of enthusiasm for the residency and said: “This has been an exciting initiative and has opened up the castle to groups of all kinds to use for arts projects. It has also been superb for people to have had the chance to The initiative to have an artist in residence in work with a professional artist of Iona’s abilStirling Castle was part of Historic Scotland’s ity”. far-reaching educational programme that aims 26 |
L a Ha usse
FIONA LEISHMAN FIONA LEISHMAN, A RISING STAR AMONG SCOTTISH PAINTERS, WAS DELIGHTED TO BE GIVEN THE OPPORTUNITY TO BE THE CASTLES FIRST ARTIST IN RESIDENCE AND IS EMBRACING 2012 WITH ARTISTIC GUSTO INSPIRED BY HER TIME SPENT AMIDST SCOTTISH HERITAGE, BREATHTAKING ARCHITECTURE AND LANDSCAPE.
At an exhibition of work within the Castle’s Bailey Gallery it was clear to see that children and adults Iona had worked with had obviously delighted in her presence and flourished in their creativity. Children from Chernobyl Children’s Life Line ((which provides respite breaks for youngsters whose health has been damaged by the after-effects of the meltdown of the nuclear reactor) visited Iona and took part in a tour of the Castle and the making of two large collages. The collages were bright and colourful and it was clear that the children had enjoyed every minute of making them. When I asked Iona for her time spent at the an artist, my residency been the most formaprofessional life to date. spiritually powerful place gies of its history strongly The residency offered the for me: allowing me to panorama of the castle in secret places, the scars in and rain-worn statues of Palace and drawing them charcoal and a skim of movingly perhaps for that are appearing in my COLLAGE by Children from Chernobyl Children’s Life Line
some thoughts on castle she said, “As at Stirling Castle has tive experience of my The Castle rock is a for me and the eneraffected my work. best of many worlds paint great sweeping its dramatic setting, the stone, the wind the great Renaissance quickly with pencil, watercolour. Most me are the figures work, many female.”
The residency project is a collaboration between the Historic Scotland Education Unit with the kind support of Sterling Furniture Group, of Tillicoultry, match funded by a New Arts Sponsorship Grant from Arts & Business Scotland. L a Ha usse | 27
EASY ART
TIPS LEARN HOW TO DRAW - PASTELS 1 – Design a rough sketch using hard pastels, 4 – Use a paper stump to blend, smooth and charcoal or pastel pencils. Plan the design in the smear colors way you want the artwork to be at the end before 5 – Mix multiple colors to give different variations you continue further of shades and texture 2 – First, color up the big areas using the side of 6 – Give the soft effect to two adjacent areas of your pastel stick colors by erasing the line strokes which are not 3 – Use variations in pressure to get different ef- needed fects. 7 –Try scumbling, which is the technique of layEXPER I MEN T PRACTICE MAKES PERFECT
ering one color over another. This too will add depth and texture to important areas in your artworksunlight to work in, then check your local art store or online for full spectrum lighting products that mimic natural sunlight. 8 – Consider trying different surfaces, like cardboard, to grow your pastel abilities. Hint here: The surface needs some “tooth” for the pastel to grab. 9 – Mix and match mediums. In addition to using pastels, add some oil paints or charcoal to your artwork (of course if you use oils you will have to wait for them to dry). 10 – Frame all of your pastel artwork in frames that match your artwork appropriately
28 |
l a ha usse
OLYMPICS 2012 FUN FACTS THE EARLY OLYMPIC GAMES WERE CELEBRATED AS A RELIGIOUS FESTIVAL WHEN, IN 393 AD, THEY WERE BANNED FOR BEING A PAGAN FESTIVAL
BARON PIERRE DE COUBERTIN In 1894, a French educator Baron Pierre de Coubertin, proposed a revival of the ancient tradition, and thus the modern-day Olympic Summer Games were born. THE OLYMPIC FLAME The Olympic flame is a practice continued from the ancient Olympic Games. In Olympia (Greece), a flame was ignited by the sun and then kept burning until the closing of the Olympic Games. The flame first appeared in the modern Olympics at the 1928 Olympic Games in Amsterdam. The flame itself represents a number of things, including purity and the endeavor for perfection. The Olympic flame is lit at the ancient site of Olympia by women wearing ancient-style robes and using a curved mirror and the sun. The Olympic Torch is then passed from runner to runner from the ancient site of Olympia to the Olympic stadium in the hosting city. The flame is then kept alight until the Games have concluded. The Olympic Torch relay represents a continuation from the ancient Olympic Games to the modern Olympics.
THE OLYMPIC FLAG The five Olympic rings represent Africa, the Americas, Asia, Europe and Oceana, and every national flag in the world includes one of the five colors. THE MEDALS The Olympic medals are designed especially for each individual Olympic Games by the host city’s organizing committee. Each medal must be at least three millimeters thick and 60 millimeters in diameter. Also, the gold and silver Olympic medals must be made out of 92.5 percent silver, with the gold medal covered in six grams of gold.. The last Olympic gold medals that were made entirely out of gold were awarded in 1912. THE OLYMPIC HYMN The Olympic Hymn was composed by Spyros Samaras and the words added by Kostis Palamas. The Olympic Hymn was first played at the 1896 Olympic Games in Athens but wasn’t declared the official hymn by the IOC until 1957.
l a ha usse | 29
shout box We want to hear from you. What do you think about the Magazine? How could we improve it? lahausse@gmail.com
Please keep La Hausse going. I look forward to reading it each edition
I used to read La Hausse on line. Will you be bringing it back?
Pete Rowman
Mark Fuller
I’ve had over 800 visits on my FB site/website since my last article was published in La Hausse. Hope you are getting a large volume of this traffic as well.
Once each edition is available in hard copy for a couple of weeks it will then be available on line as well.
Steve Najda Keep up the good work. La Hausse will become popular so stick at it. Sue Francis Just a note to say how much I love the magazine and admire all the creativework you put into it! I follow you on Twitter as well and saw that you areaccepting submissions. I’d love to submit my photography. Michael Kirchoff
Just a thought. What about printing the magazine smaller? It might help towards costs and be a feature? Clive I have been looking at this and certainly considering it.
La Hausse website
Any thoughts on including classified ads?
Our website is now available and will be built on over the coming months.
Mark Fuller
lasausse.co.uk
If requests for this are submitted I will start a page. 30 |
L a Ha usse
L a Ha usse | 31
Tracey Pacitti Based at her studio in the South of Edinburgh, Tracey Pacitti is an emerging Artist who exhibits throughout the year across Edinburgh, Fife and the Lothians.
Â
Each creative journey is a foray into the unexpected; Tracey is open to new ideas and bursts of spontaneity as colour, light and shadow and visible brush work combine to capture her vision. She paints instinctively, in a largely unconscious process, and feels that entire process of mark marking is as important to her as the finished painting.
Following a full-time successful 20 year career, during which, as a mature student, she studied and achieved an honours degree in Psychology, she discovered a natural ability to paint. She favours painting on cadmium red canvas using a broken Her work is in private collec- colour technique to allow contions across the UK and United sidered areas of the red canvas States. to show through in her paintings. This technique, which
32 |
L a Ha usse
Exhibitions Macmillan Art Show, Edinburgh Howies, Edinburgh The Hangar Gallery, N. Berwick The Jerdan Gallery, Crail Blues & Greens, N.Berwick The Ceres Gallery, Ceres Art at the Airport, Edinburgh Art on the Park, Stirling The Dirleton Galler The Jerdan Gallery Art Kist at The Framework Gallery
enables the colours to appear to shimmer or vibrate against each other, gives each piece a warm, vibrant and exciting quality, and appears in many of her paintings. Tracey’s interest in psychology and in particular human behaviour and emotion has lead to the commencement of a new series of paintings of human life as observed outdoors; each executed with the attempt to convey emotion through the poses of the figures contained within each piece. There is something nostalgic about these pieces within which most of us can recognise something familiar and comforting. The majority of her works are completed in oils however she also works in watercolour and mixed media. www.traceypacitti.com L a Ha usse | 33
Bipolar disorder - pre-
viously known as manic depression - is a condition that affects your moods, which can swing from one extreme to another. If you have bipolar disorder you will have periods or ‘episodes’ of depression and mania.
Depression and mania The depression and mania that are associated with bipolar disorder are characterised as follows: depression: where you feel very low, and mania: where you feel very high; slightly less severe mania is known as hypomania. Both extremes of bipolar disorder have a number of other associated symptoms. Unlike simple mood swings, each extreme episode of bipolar disorder can last for several weeks or longer. The high and low phases of the illness are often so extreme that they interfere with everyday life. The depression phase of bipolar disorder often comes first. Initially, you may be diagnosed with clinical depression before having a manic episode some time later (sometimes years later), after which your diagnosis might change. During an episode of depression, you may have overwhelming feelings of worthlessness, which often lead to thoughts of suicide. During a manic phase of bipolar disorder, you may feel very happy and have lots of ambitious plans and ideas. You may spend large amounts of money on things that you cannot afford. Not feeling like eating or sleeping, talking quickly and becoming annoyed easily are also common characteristics of the manic phase of bipolar disorder. During the manic phase, you may feel very creative and view mania as a positive experience. However, during the manic phase of bipolar disorder, you may also have symptoms of psychosis (where you see or hear things that are not there).
How common is bipolar disorder? Bipolar disorder is a relatively common condition with around one person in 100 being diagnosed with the condition.
34 |
l a ha usse
YABI creates healthy, new experiences for Youth aged 18-30 with Attention Deficit Hyperactivity Disorder (ADHD) & Bipolar and is focused on removing the stigma behind mental health. It also provides a support network for those caring for sufferers of both conditions. http://yabi.org.au
Stephen Fry Stephen Fry has been diagnosed with bipolar disorder, specifically stating he suffers from Cyclothymia, referring to it as “bipolar lite”. He suffered a nervous breakdown in 1995 while appearing in a West End play called Cell Mates and subsequently walked out of the production, prompting its early closure and incurring the displeasure of co-star Rik Mayall and playwright Simon Gray. After walking out of the production, Stephen went missing for several days while contemplating suicide. He abandoned the idea and left the United Kingdom by ferry, eventually resurfacing in Belgium. Stephen has spoken publicly about his experience with bipolar disorder, which was also depicted in the documentary Stephen Fry: The Secret Life of the Manic Depressive. In the programme, he interviewed other sufferers of the illness including Carrie Fisher, Richard Dreyfuss and Tony Slattery. Also featured were chef Rick Stein, whose father committed suicide, Robbie Williams, who talks of his experience with major depression, and comedienne/former mental health nurse Jo Brand. He is also involved with the mental health charity Stand to Reason. In 2009, Fry lent his support to a campaign led by the human rights organisation Reprieve to prevent the execution of Akmal Shaikh, a British national who suffered from bipolar disorder, yet, despite calls for clemency, was executed in the People’s Republic of China for drug trafficking. Stephen introduced me to yabi earlier this year after he visited Australia. I am pleased to support them on the back page of this Magazine. We work to enable people affected by bipolar (also known as manic depression) to take control of their lives. We work by: • ed • • •
Supporting and developing self-help opportunities for people affectby bipolar Expanding and developing the information services about bipolar Influencing the improvement of treatments and services to pro-
mote recovery Advocating against discrimination and promoting the social inclusion and rights of people affected by bipolar
Being an independent charitable organisation with sufficient resources to sustain and develop our services to meet the needs of individuals affected by bipolar today and tomorrow. http://bit.ly/uXot0e
l a ha usse | 35
Acknowledgements Copyright & Legal
T
his Magazine uses articles, pictures and graphics from various sources either provided by contributors or from information in the Public Domain. Exhaustive checks are undertaken before any article is published but it is possible that mistakes can be made so if you think your copyright has been infringed in any way please advise us with full details and we we will acknowledge this in our next edition together with giving the necessary attribution (please see copyright notice opposite). Ownership of copyright The copyright in this magazine (including without limitation the text, artwork, photographs, images) is owned by us and our licensors. or permission to publish has been obtained from the owners of said material.
Copyright licence We grant to you a worldwide non-exclusive royalty-free revocable licence to: (1) view this magazine and the material on a computer or mobile device via a web browser or purchase hard copy; (2) purchase, download and store this magazine and the material on your computer; (3) print or scan and print pages from this purchased magazine for your own [personal and non-commercial] use. We do not grant you any other rights in relation to this magazine. All other rights are reserved. You must not adapt, edit, change, transform, publish, republish, distribute, redistribute, broadcast this magazine in any form or media without our prior written permission.
Permissions You may request permission to use the copyright materials in this magazine by emailing: lahausse@gmail. com
Enforcement of copyright Our normal course of enforcement is to ask for an acknowledgement or removal of the said article/graphic. In certain cases however we reserve the right to commence legal proceedings against you seeking monetary damages and an injunction to stop you using those materials. You could also be ordered to pay legal costs. If you discover any use of our copyright materials that contravenes or may contravene the licence above, please report this by email to: lahausse@gmail.com
Infringing material We check as far as possible and obtain the necessary permission to publish all articles within the magazine however we are aware that mistakes can happen. If you recognise any material in La Hausse or on our website that you believe infringes your copyright, please report this by email to: lahausse@gmail.com together with full details of the article/graphic concerned including page number, and proof of ownership. In return we will at your request publish an acknowledgement together with an apology in the next edition of the magazine. The information contained in this publication is for general information purposes only. The information is provided by La Hausse and while we endeavour to keep the information up to date and correct, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the publication or the information, products, services, or related graphics contained on the website for any purpose. Any reliance you place on such information is therefore strictly at your own risk. In no event will we be liable for any loss or damage including without limitation, indirect or consequential loss or damage, or any loss or damage whatsoever arising from loss of data or profits arising out of, or in connection with, the use of this publication . Through this publication you will see details of other publications/websites which are not under the control of La Hausse. We have no control over the nature, content and availability of those sites. The inclusion of any links does not necessarily imply a recommendation or endorse the views expressed within them. Every effort is made to keep La Hausse published on a regular basis. However, La Hausse takes no responsibility for, and will not be liable for, the publication being temporarily unavailable due to issues beyond our control.
36 |
L a Ha usse
We would like to acknowledge the following for permissions to use material: www.fullers.co.uk www.psdgraphics.com hwww.nhs.uk yabi.org.au General Wikipedia
Advertise in
La Hausse Full Color Adverts
Quarter Page Half Page Full Page Back Cover
Format Portrait
£60 £90 £180 £500
Black and White Adverts Quarter Page Half Page Full Page
£40 £60 £120
Other sizes/discounts are available, please get in touch for details. All sizes are approximate and subject to editing to fit. Electronic copy must be supplied (eg: high quality pdf, tiff, or jpeg [at least 300dpi] - not embedded in Word documents). The best image format are flattened tiffs at 300 dpi, CMYK. Please ensure you embed fonts in any copy. Confirmation of space requirements should be by e-mail as far in advance as possible and not later than copy deadlines for publication in the Magazine as shown below: January - deadline 1st December March - deadline 1st February May - deadline 1st April July - deadline 1st June September - deadline 1st August November - deadline 1st October These Rates are subject to change without notice. No guarantee that adverts will be published can be given
136 mm x 127 mm 203 mm x 127 mm 203 mm x 254 mm 203 mm x 254 mm Bleed: Top/Bottom 0.125 in Outside 0.25 in 136 mm x 127 mm 203 mm x 127 mm 203 mm x 254 mm
but any adverts for whatever reason not appearing will be refunded in full. Payments must be made via PayPal. (eurobluecob@ aol.com). No other form of payment will be accepted. All submissions are subject to our Advertising Terms & Conditions which can be obtained by emailing: lahausse@gmail.com putting ‘Advertising’ in the subject line.
CONTACT THE TEAM Editor: David W. Oddy lahausse@gmail.com Reporter: Ann Tocoda anntocoda@lahausse.co.uk Editorial Assistant: Linda Buckley wiccanwear@o2.co.uk
L a Ha usse | 37