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issue 1 volume 4 | november 2011
World of Moose Start With Ink Splashes
Pause For Thought Chłodna 25
Masters Spotlight the edingburgh exhibition Robert Kelsey
A Magical Place At Christmas
MAS CHRIST EDITION HAPPY YS! HOLIDA
glasgow school of art A Refuge For Those Seeking Solace
| to submit articles, photos etc. please contact us at: lahausse@gmail.com |
6. Time To Reflect Masons At Christmas
November 2011
CONTENTS
8. The Contenental Touch
la hausse a window on the world
Robert Kelsey
14. Glasgow Art Club
EDITOR David Oddy
Robert Kelsey
REPORTER Ann Tocoda
16. Ah! Les Francais
PROOF READER Linda Buckley
David Oddy
18 . Pause For Thought Stephen Najda
20. The City Of Edingburgh Exhibition Ann Tocoda
22. Roman Antiquities
PHOTOGRAPHER David Oddy CONTRIBUTORS Craig Smith Robert Kelsey Stephen Najda Ann Tocoda Moose Allain Hannah Mai George Mark Joe Simpson
Anon
26. World of Moose Moose Allain
32. The Stars Are Shining George Mark
36. Ambiance Not Technique Hannah Mai
42. Figurative Painter Joe Simpson
46. Eat, Drink and be Merry
EDITORIAL ENQUIRIES lahausse@gmail.com This our Fourth and Christmas edition builds on the success of La Hause in it’s first year.. Copyright © 2011 La Hausse Acknowledgements: see page 48 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.
And Have A Prosperous New Year Cover Photo: Craig Smith 2|
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EDITORIAL | A Special Time Of Year
SEASONS GREETINGS
THE FUTURE LOOKS GOOD FOR LA HAUSSE
This has been an exciting year for me starting La Hausse and seeing it grow. I have never undertaken such a task before and was somewhat concerned that perhaps I had taken on more than I could chew.
Very quickly it became aparant that I had a lot to learn, not just about the mechanics of designing and producing a Magazine but about the legalities and the required administration that is also needed.
I made mistakes and no doubt will continue to do so but I very quickly established a collection or readers who, not only gave me support in this project, but encouraged me to continue. I have been amased how kind some people can be and by their continued support I have now produced this, the fourth edition of La Hausse At one stage I did consider giving it up especially when things did not go well or some work I had spent ages on had to be scrapped but the
enthusiasm never waned, the challenge to do this continued and the responses I received from the readers gave me the shot in the arm that I needed. There are plans already underway for the coming editions and hopefully the new year will see the Magazine become more formalised and not have to rely on too much padding. I now have some regular contributors who are so welcome and appreciated and I want to build on this and encourage others to take part in the
Magazines development and perhaps run their own sections each on their specific area of Art. I am delighted to announce that La Hausse is now being read by many people and the sales of the hard copy are increasing. Hopefully advertisers will pick up on this as it progresses but this would not be a concern if it does not happen as - and I have said this before - it is a labour of love on my part. Thank you all.
David W Oddy Editor
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meet the team
La Hausse DAVID ODDY
(Editor and Producer) 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.
Catherine McI
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 precious ‘My photography has business been amaking labour of lov metal jewellery. Linda has been an avid supporter of La Hausse over twenty from the beginning for offering her services as ayears. proof reader and Mynecessary. work varies in style and content’ critic where
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Can You Help ?
Intyre
ve
At this special time of year it is good to try and contact old friends and relations. Recently a friend of mine who is 82 years old was telling me about someone he met whilst serving in the RAF who was a natural at sketching and drawing. At their de-mob he placed a selection of his drawings on a table and asked everyone to take one or two as a gift. This was 62 years ago but he still has the drawings. I reproduce one here just in case anyone knows of the artist or can give some help in trying to find him. If you can help please send details to: lahausse@gmail.com
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TIME TO REFLECT MASONS AND CHRISTMAS to her a few days ago and told her we’d do it tonight, and...” “Yeah, I’d like to,” replied the Senior Warden, “but tonight’s a really bad night. You know Thursday’s my pokernight and I’m on a winning streak” “Can’t you play some other night?” “Not now. I’m the middle of this. Maybe tomorrow,” The Master thanked him and put a call in to the Junior Deacon.
R EMEMBER TH E P ECULIAR MO MENT YOU WE RE RECEIV ED INTO MA SO NRY P OOR AN D PENNILESS, AND CHEERFULLY EM B RAC E T HE O PPORT UN I T Y O F P RA CTISING THAT VIRT U E YOU HAVE P ROF ESSED TO A DMIRE There it sat, wrapped in green paper with drawings of little candy canes, surrounded by a carefully-tied broad red ribbon. The smell of the biscuits inside the package lingered in the air. The Master’s wife had baked several dozen of the Christmas treats and put them into little parcels to be delivered to the widows of members of the Lodge. The Master had driven around to drop them off, along with a card and a holiday wish from their late husband’s brothers in Masonry. But one package remained on the dining room table. “All of the members jumped up and volunteered at the last meeting to take these to the widows, but I’m the only one who’s been doing it,” thought the Master to himself. “I know! I’ll call around and see who can deliver the last one.” He punched some numbers into his cell phone. The Senior Warden answered. “Dave, it’s Rick,” said the Master cheerfully. “Mrs. Wilson’s biscuits are over here and I was wondering if you could drop them off? We talked 6|
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“Steve, remember you said you could help deliver the widows’ Christmas presents? Mrs. Wilson’s is sitting here...” “I’m sorry,” said the Junior Deacon. “I know I said that, but my office Christmas party is tonight and I have to go to that. The boss kind of expects it.” “Can’t you say ‘no’ to him?” “Well, you know he doesn’t have a high opinion of us to begin with because he wants me to work late all the time and I can’t if something with the Lodge is happening. Besides, drinks are free. Talk to you next meeting.” The Junior Deacon hung up. Somewhat forlornly, the Master tried a few other members, all of whom had promised they would personally hand out gifts to the widows. But one was going out with some friends that night. Another was too tired after work. Yet
another said the widow lived too far out of the way for him. Still another had a concordant body meeting he wanted to go to. Finally, the Master tried the last person on his list, a Past Master of the Lodge. “I need your help. Last meeting you said you’d help deliver the widow’s gifts. Mrs. Wilson’s is sitting here and...” “Wilson?!” he interrupted. “Did you know her husband? He dumped on me the whole year I was in the chair. He kept giving me hell for all kinds of little things.” “That doesn’t have anything to do with his widow. It’s a Lodge tradition we go out and deliver...” “And another thing,” butted in the Past Master. “Last meeting you came down to the altar at the wrong time. And you gave the wrong knocks to close the Lodge. Can’t you follow traditions? Don’t you pay attention at practices or know what’s in your ritual book?” “We were talking about Mrs. Wilson...” “Wilson. The hell with him.” With that the phone went dead. The Master prepared to pick up the lonely little parcel when the phone rang unexpectedly in the other room. He picked up the receiver. “My name is Mrs. Lane,” the feeble old voice at the other end quavered. “I live next door to Gladys Wilson. I thought I’d better call you. She has been taken to the hospital.”
“I had invited her over for dinner tonight, but she said she couldn’t come because she was waiting for the Masons. She got a little tired while waiting and went to call someone to see if there was a problem, but she slipped on the carpet and fell. I think she had been on the floor for awhile. It looks pretty serious. I thought I’d better call you.” “My father was a Mason a long time ago,” Mrs. Lane went on. “He didn’t talk about it much, but all I know is when I was a girl during the Depression, the Masons helped us. One Christmas we had nothing. And there was about two feet of snow. But a bunch of the Masons came over with a tree and a huge baked turkey. They put up the tree and decorated it, then we ate the turkey and they sang Christmas carols to me and my three sisters until it was bedtime. It was so wonderful. I learned then that when times are tough, you can depend on the Masons.” “Thank you for calling me, Mrs. Lane,” said the Master. “It’s just too bad someone didn’t get here a little earlier because this probably wouldn’t have happened,” added the old woman. “But God bless you Masons.” “Yes, thanks again,” replied the Master, and gently hung up the phone. And as the Master put on his jacket, and picked up the little wrapped parcel to take to the hospital in the clear, moon-lit evening, he wondered if the Masons today really were as dependable as their forefathers. Or, if the admonition of not letting “public and private avocations” interfere with Masonry had turned into nothing more than a convenient excuse.
“What!?” answered the stunned Master.
FREEMASONRY ENCOMPASSES ALL THAT IS GREAT IN MANKIND
A VERY M E RRY AN D M AS ON I C C HRI S T M AS TO E VE RYON E BROTHERLY LOVE, RELIEF AND TRUTH
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Masters S
Robert
The Contine
Glasgow based artist Robert Kelsey is well known for his evocative Seascapes and Beach paintings of the merse himself in the strong light and vivid colours to be found a bit further from home.
Over the years Robert has painted in Italy, Spain, France, Portugal, and Greece as well as his favourite far o
“I love the strong light and shade that you encounter in Caribbean and Mediterranean locations. Everythin nice to extend my palette and play with some strong pastel colours occasionally” “The local architecture i faded villa in Tuscany, these sunny buildings offer plenty of inspiration for an artist”
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Spotlight
Kelsey
ental Touch
e West Coast of Scotland but he likes to travel further south when the opportunity presents itself, and im-
off destination, the Caribbean, and Barbados in particular.
ng is sharper and colours are more vivid. The cold clear light on Scotland’s west coast is wonderful, but it is is also fun to explore, whether it’s a back street in Cagliari in Sardinia, a beach house in Barbados, or a sun
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Robert Kelsey 1010 | L |aL aHa Hausse usse
www.rkelsey.com L aL aHaHausse usse| 11 | 11
WOULD YOU LIKE TO ADVERTISE HERE? lahausse@gmail.com
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All the Staff at
La Hausse would like to wish all it’s readers, old and new a
Happy Christmas and a
Prosperous New Year L a Ha usse |
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THE G L AS G O W A RT C LUB , H A S O CCUPI ED ITS E XI ST I N G B AT H S T R E E T P REM I SE S SINCE 1 8 9 3 , I T WA S F O UN D E D I N 1867 BY WI L L I A M D E N N I S TO UN , A YOUN G AM ATE U R A RT I S T.
GLASGOW ART CLUB Robert Kelsey - DA, MUniv, PAI, FRSA Known by some as the city’s best kept secret ,The Glasgow Art Club, housed in a beautiful A listed building in the heart of Scotland’s bustling major city, is keen to shed this secrecy. The club, which has occupied its existing Bath Street premises since 1893 was founded in 1867 by William Dennistoun, a young amateur artist. Membership grew to include professional artists and after occupying various unsuitable premises the now very successful club found themselves buying two adjacent town houses in Bath Street in the city centre. Architect John Keppie, already a member of the club, was put in
charge of converting the houses and also creating the Gallery which now shows the works of its members in regular shows throughout the year. There is recent evidence that a young Charles Rennie Mackintosh had a hand in some of the Gallery’s ornamental details.
up the core of the membership Lay members make up the majority. The club acts as a refuge during the day for those seeking solace from the busy Glasgow streets. It offers a chance to read the papers and relax on their own or be among friends
Home to beautiful original wood panelling and two of the most impressive original fireplaces you are likely to see, the Gallery is the heart of the club.
The Gallery is open to members of the public and you don’t need to be a member to go in and view an exhibition. The club also houses an impressive library for members as well as a restaurant and bar.
Although professional Artists and Architects make
Several of the famous Glasgow Boys including James
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ORIGINAL WOOD PANELLING T H E R E I S REC EN T EV IDENCE THAT A YO UNG CHARL ES RE N N I E M AC K I N TOS H HAD A HAN D I N S O M E O F T H E G A L LERY ’ S OR NAMENTAL DETAILS.
RELAX IN STYLE A R E FUG E F OR T HOSE SEEKING SO LA CE FROM T HE B U S Y G L ASG OW STREETS
ELEGANT DINING I T S M EM B E RS C AN OPT TO S I M PLY HAVE A Q U IE T L U N C H AN D WATC H T HE WORL D GO B Y
Guthrie, were members, as were Alexander Goudie, David Donaldson, David Eustace and James D Robertson. Billy Connolly and international conductor James Loughran are two of the current members representing the Arts in a wider sense.
of concerts, cabaret, jazz events, and lectures for its members, who can also opt to simply have a quiet lunch and watch the world go by.
Alongside the continuous display of contemporary Art on the walls, the club offers a wide programme
Glasgow Art Club 185 Bath Street, Glasgow G2 4HU www.glasgowartclub.co.uk l a ha usse | 15
by David W Oddy
AH! LES FRANÇAIS
Part Four - The Chemical Loo
THE AWFUL CHORE OF EMPTYING A CHEMICAL LOO IS SOMETHING EVERY-
W
e spent about a week at the campsite mainly getting to use and understand
ONE SHOULD EXPERIENCE ONCE IN
the ‘intimacies’ of the Campervan, especially
THEIR LIVES THEN THE WONDERS AND
myself never to use this ‘thing’ other than
the workings of the chemical loo. I resigned in an emergency and so, after reading many books on campsites in France, we decided that
LUXURY OF PROPER PLUMBING WILL
we would only stay on sites recognized by the
BE APPRECIATED MORE. THIS FOR ME WAS TO BE AVOIDED AT ALL COST.
Dutch as they were considered the best and the facilities were supposedly ‘like at home’. The awful chore of emptying a chemical loo is something everyone should experience once in their lives then the wonders and luxury of modern plumbing will be appreciated more. This for me was to be avoided at all cost.
THE My first experience of emptying this animal
REALIZATION
was undertaken when we were staying on my sister’s drive. I had to learn where to empty it
THAT THE
and what to do, so when the little light on the top of the unit started to blink telling me that
CHEMICAL LOO
the end was near, I told my wife that I was going to empty it in a public toilet on a main
IS A STEP TOO
route near where we were. I did not want to drive the Campervan there as it was not far,
FAR
so I put it in the boot of my car, which we still had, and off I set.
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There was a kind of “shushing’ sound which became louder the more I unscrewed the top. Suddenly, and without warning, a jet of pure shite shot out from the container narrowly missing hitting me in the face and spreading ‘muck’ over an area of about 15 meters. This all happened in seconds and I stood there wondering what had happened, pondering how I was going to clean up the mess as I realized the loo would need washing out, and dreading the journey back home. The first thing that rushed through my mind was, what if I had waited in that queue back in the layby, entered a cubicle when it was my turn and then casually proceeded to pebble dash the whole cubicle in a nice colour of shite. About ten minutes later I arrived at the
and bury it. Simples.
would the truckers have done? I suppose on emerg-
lay-by where the public toilet was sited only to find it full of trucks and lorries and a queue
What would the truckers have thought? What
I drove around for nearly two hours trying
ing I could have said to those assembled ‘I would
waiting to use the loos. Whether it was through
to find a remote spot which, in England is
give that a minute or two’ but somehow I do not
embarrassment or not fully understanding how
quite hard. Yes, there were many places I
think that that would have sufficed.
to empty the ‘thing’ I decided not to join the
could have disposed of it but I was worried
queue carrying virtually a bucket full of s***.
that I might be seen digging a hole in the
The next half hour was horrendous. Carefully
But what to do?
middle of nowhere as, in the UK, you are
wrapping the loo in an old coat that I had in the
never really that far from people even if it is
boot and driving home with every window of the car
the passing farmer on his tractor.
open hoping that I was not stopped for any reason
Composing myself I realized that if we
I eventually arrived home to face a panicking wife
were in the wilds of France and this thing was shouting ‘full’ I had to dispose of it somewhere. I had purchased a campers friend – a
There I was, panicking a little driving around with a boot full of sherbert.
stood outside before she would let me anywhere near the Campervan and a realization that perhaps
fold up spade – so obviously the thing to do was to find an out of the way spot, dig a hole,
who was worried where I was, a ‘hosing down’
Eventually I found a remote field that only
camping of any sort was not for me and that the
contained some curious cows. ‘Ideal’ I said to
‘wonderful modern chemical loo’ is a step too far.
myself and started to dig my hole. This was
and will never, ever be used again.
not as easy as I had expected as the ground was like concrete so, more in frustration plus the fact that the field was already covered in cow’s ‘messages’, I decided just to dump it and flee. The next part of this adventure can only be imagined. I had never done this before and no doubt made the mistake that every novice camper makes at first, that of not ‘bleeding’ or reducing the pressure built up in the chemical loo no doubt by the natural gasses. I just unscrewed the top.
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Pause For Thought
T
he weight of history presses heavily on the shoulders in Warsaw. Today, it is difficult to comprehend the madness that happened here only a short step into the past. I am sitting in Chłodna 25, a trendy, arty, student hang-out – the cool place to be in Warsaw. There’s a group of student’s in the corner, drinking lots of beer and making lots of jovial noise. Annoyed, I look out of the window for some peace and quiet. Opposite, there are a few words painted on sad concrete by a graffiti artist– ‘Tam była kładka’ and underneath ‘–’לגר יכלוהל רשג םש היהWhat does it mean?? – ‘There was a footbridge??’ This was not your average angst written on the wall. Why would anyone write – ‘There was a footbridge’ in Polish and Hebrew?? Curious?? I turn on my lap-top and log-on. A few minutes on Google brought the past to life. Flicking though images of time, in 1941 Chłodna street was a lively, busting place, by 1942 a wall had appeared. And to keep the trams running along Chłodna street, my side of the street was walled off to become the ‘small’ Jewish ghetto and the opposite side of the street was walled off to become the ‘large’ Jewish ghetto. A wooden footbridge was built at No.25 Chłodna street to link the ‘small’ to the ‘large’ ghetto. After the ghetto uprising in 1943, some 600,000 souls perished and Hitler ordered the ghetto to be raised. For some reason, Chłodna 25 was one of the very few buildings to survive. I’m looking out of Chłodna 25, happy, that the students drinking beer are happy; visualising the pages of history moving past the window, happy that those days are history. I wrote a short poem, called Chłodna 25 using words I could see from where I sat.
Chlodna 25 No 25, Chłodna St. There was a bridge. Tam była kładka. לגר יכלוהל רשג םש היה. People drink too much beer. Happy, youthful and cool Fajnie Bardzo There was a bridge. Tam była kładka. לגר יכלוהל רשג םש היה. A bridge to the past. Judenrät in Warschau A bridge to the future. There was a bridge. Tam była kładka. לגר יכלוהל רשג םש היה. Żubr, Żywiec, Zloty Król Smiles, laughter, music Fajnie bardzo 18 |
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For information: Fajnie Bardzo – was the WiFi password scribbled down on a piece of paper by a member of staff – if you flip the words, it means very cool in Polish. Judenrät in Warschau (in German) - I took this from a period image of writing on the wall. The Judenrät were the Jewish police force set-up by the Germans to police the ghetto. Żubr, Żywiec, Zloty Król – these are brands of Polish beer with unpronounceable names (for non-Polish speakers) that were piling up in the corner as the students drank. I made a quick ink sketch of Chłodna bridge from a very grainy image taken from the ‘large’ ghetto, overlooking Chłodna bridge to the trendy club on the ‘small’ ghetto side of Chłodna street. I’m looking out of the window of Chłodna 25 at the base of the footbridge some 69 years later, on the ‘small’ ghetto side of Chłodna st. Chłodna 25 is centre top,
behind the bridge on the sketch and has a distinct façade with round vertical pillars at ground level, as you can see in some of the period photographic images. (A special thanks to Donna Shalev for checking my Hebrew).
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The City of Edinburgh Exhibition
E
dinburgh is an enchanting place with a treasure trove of meeting places, shops and galleries. With it’s magnificent Castle, clock towers, beautiful old churches and vintage emporiums I was delighted to re-
in mediums ranging from traditional Indian ink to gloss paint. As I weaved between happy groups drinking cocktails and chatting, it was clear that the exhibition was being viewed favourably and quickly little red dots indicating sales began to be placed on the price tags. Perhaps some were Christmas presents. If so, such a gift would be appropriate as Edinburgh at Christmas is a magical place. The glittering lights of George Street light up the sky, the German Market lures you with unusual gifts and visitors take to the ice in the Winter Wonderland. Artist Karen Cairns, a graduate from Edinburgh College of Art, depicted the City of Edinburgh’s most magical time wonderfully. Her watercolour painting called ‘Hop Till You Shop’ showed a woman walking in the city’s high street with a child, holding the adults hand for safety yet free enough to hop in excitement of what awaited in the stores or from a visit to Santa.
ceive an invitation to Scotland Arts ‘City of Edinburgh Exhibition’ and wondered how the artists exhibiting in this prestigious gallery would portray Scotland’s capital city . To my delight, the exhibition boasted a true mix of subjects in drawings and paintings 20 |
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Of course the lead up to Christmas is also a romantic time and inspired by his love of figurative work and desire to create paintings of nihilistic conclusions, artist Alex Dewar, a graduate from Duncan of Jordanstone painted a wintry Edinburgh as a city of romance. His painting ‘The Royal Mile’ was of a couple in love, standing in the famous street with coats wrapped around them to protect them from the harsh Edin-
Karen Cairns
Alex Dewar
burgh cold wind. Each artist within the ‘City of Edinburgh Exhibition’ painted Edinburgh how they individually saw it. This made for a truly enjoyable exhibition filled with paintings that could be related to on different levels. I hope you like the ones I have chosen for you and that your lead up to Christmas is truly enjoyable wherever you choose to spend it. ©2011 Ann Tocoda
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Roman Antiquities, Roman Glass Beads and Intaglios In the 2nd millennium BC, the Romans emerged from a small settlement near Rome to begin a course of expansion that was to make them the dominant power in the Mediterranean. By the 1st Century AD, Roman territories expanded from Britain in the north to Egypt in the south. Much of the Roman culture and crafts reflected the preceding Hellenistic period, however, their extensive trade network provided them with a great variety of materials. Artisans often combined styles and materials creating their own unique designs. While personal adornment was frowned upon by the early Romans, their attitude of austerity had diminished by the 1st Century BC and a rich variety of jewelry abounded. Roman jewelry reflected both the Hellenistic influence and the Eastern taste for colored stones. Roman period, is considered to be 100 BC to 400 AD. This included all the many glass working centers throughout the Roman Empire (what is now Syria, Egypt, Italy, Switzerland, the Rhineland, France and England) however, probably did not consist of any production actually in Rome itself. Many technologies were both rediscovered and newly invented over this time period. One of the most signifi22 |
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cant was the invention of the blow pipe (Sidon). It was used to make drawn beads, but the technique differed from the earlier methods in India. In fact, it does not appear that they were familiar with these other techniques and the blow pipe method was developed independently. This was a faster cheaper means of making beads in mass than the individual wound method that had been being used in Europe and the Mediterranean before. The blow pipe also allowed the artisan to expand a bead (or other glass object) from the inside, thereby eliminating the weight and shear amount of glass needed for the core formed methods. This might explain the disappearance of the core formed beads, and vessels around the 1st c. BC. Due to these more efficient methods, there were more glass beads produced in the 1st century AD than in the previous 1500 years. An Intaglio is an engraved or incised figure in a hard material. The shapes of the gems cut in Rome or for the Romans do not differ much from those of the Hellenistic Greek world. Circular stones are perhaps less common and oval ones rather broader. The subjects chosen for engraving were notables, generals and emperors. Heads and figures of divinities are common, especially those most favored by the Romans or appropriate as signet devices like Fortuna.
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Christmas goodies Easy recipes for Christmas. Spend more time with the family Than in the kitchen
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Mince Pies 1¼ lb (560 g) mincemeat 12 oz (350 g) plain flour 3 oz (75 g) lard 3 oz (75 g) butter pinch of salt For the top: a little milk icing sugar Make the pastry by sifting the flour and salt into a mixing bowl and rubbing the fats into it until the mixture resembles fine crumbs. Add just enough cold water to mix to a dough that leaves the bowl clean. Leave the pastry to rest in a polythene bag in the refrigerator for 20-30 minutes, then roll half of it out as thinly as possible and cut it into two dozen 3 inch (7.5 cm) rounds, gathering up the scraps and re-rolling. Then do the same with the other half of the pastry, this time using the 2½ inch (6 cm) cutter. Grease the patty tins lightly and line them with the larger rounds. Fill these with mincemeat to the level of the edges of the pastry. Dampen the edges of the smaller rounds of pastry with water and press them lightly into position to form lids, sealing the edges. Brush each one with milk and make three snips in the tops with a pair of scissors. Bake near the top of the oven for 25-30 minutes until light golden brown. Cool on a wire tray and sprinkle with icing sugar. When cool, store in an airtight container.
Christmas Turkey Try and get a fresh bird, if not ensure it is completely defrosted. Calculate cooking times. Remove the giblets and place the uncovered turkey on a plate in the lowest part of the refrigerator overnight. Before cooking stuff the turkey with your chosen stuffing. Place about two-thirds in the neck end between the flesh and the skin, then tuck the neck flap under the bird’s back and secure it with a small skewer. Place the rest of the stuffing in the body cavity. Spread 6 oz (175 g) of softened butter all over the bird. Lay about 8 oz (225 g) of streaky bacon rashers over the breast of the bird, overlapping slightly, then season with freshly milled black pepper and a little salt. Arrange two large sheets of foil across theroasting tin, one widthways and the other lengthways. Lay the turkey on its back in the middle of the foil then loosely wrap it. Place in a pre-heated hot oven, gas mark 7, 425°F (220°C), for 40 minutes – this initial blast is so that the heat gets right into the turkey and the stuffing very quickly. Then reduce the oven temperature to gas mark 3, 325°F (170°C) for 3½ hours. After this time, remove the turkey from the oven, uncover it and discard any excess foil. Baste with the juices then increase the oven temperature to gas mark 6, 400°F (200°C). Cook the uncovered turkey for a further 40 minutes – once the bacon on top of the turkey has browned you can push it down into the tin to allow the breast to get a final browning. After the final 40 minutes, remove the turkey from the oven. Pierce the thickest part of the leg with a skewer then press the skewer against the leg to see if the juices run clear without any trace of pink – if the juices are clear, the turkey is cooked. You can also give the legs a little tweak – if they feel like they’ve got some ‘give’ in them, then the turkey is done. Cover it loosely with foil and allow it to rest for about 45 minutes before serving – it will be fine at kitchen temperature. Cooking times for other sizes of turkey: 8-10 lb (3.5-4.5 kg) – 30 minutes at the high temperature, then 2½-3 hours at the lower temperature, then a final 30 minutes (uncovered) at gas mark 6, 400°F (200°C). 15-20 lb (6.75-9 kg) – 45 minutes at the high temperature, then 4-5 hours at the lower temperature, then a final 30 minutes (uncovered) at gas mark 6, 400°F (200°C). Please bear in mind that ovens, and turkeys, vary and the only sure way of knowing if a bird is ready is by using the tests described above.
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As an artist I am often asked what my work is like. I always find it hard to answer this question, mainly because I work in a variety of styles and in a variety of media. I can’t s a y horses in oils, f o r example or sharks i n formaldehyde a n d h a v e d o n e with it. I can s a y that I mostly draw, and that my style is quite graphic, and that sometimes I use humour or write on my drawings… but already I am getting into particularities rather than a general description. So it is interesting for me to try to step back and look for common themes. I’ve only arrived at being full time artist in the last 4 or 5 years, having meandered my way through a variety of jobs and a career in architecture, always feeling that I was an artist, I just wasn’t sure I could do that for a job. Looking at my work now – and I feel that I’m right at the beginning of my journey as an artist – I am aware of an overarching interest in narrative, particularly in the form of multiple narratives taking place in landscapes, cities, etc. 26 |
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And if I step back further and look at my life as a whole, I am genuinely amazed to see that
this has been a life long fascination that goes back as far as I can remember and manifests itself in the work I am producing today. As a child I loved the Babar The Elephant books with the the monkey village inside the covers. I would spend ages looking at each little home, imagining myself living there,
of Busy Town, the hive of activity which you could get lost in. I always loved pictures full of tiny details where you felt you were observing a tiny world, that familiar but alluring idea of watching the teeming life of an ant colony. As I grew older, reading books with more words and fewer pictures, I loved reading stories with maps at the beginning. They would fill you with anticipation for the story to come. I suppose I like journeys where you have an idea of where you are heading, the looming mountains and rivers in the fantasy worlds of The Hobbit and the Narnia with their promise of journeys ahead. These are the books that stayed with me from childhood and I can trace their influence on me in my adult life. For me, architecture is a form of story telling. Good architects draw out of their clients the stories they want to tell about themselves. Buildings, in their forms, their materials, their volumes, their decoration tell us a story about our aspirations. We are adept at reading buildings and understand perfectly the insult of poor buildings and dreary landscapes, bereft of imagination and care. I was inspired to become an architect sitting in the library as a young man reading the Architectural Review, trying to understand the plans, relating them to the photographs, imagining these usually pristine, empty spaces and their occupants.
swinging from tree to tree. I loved the Richard Scarry books too with the lovely scenes
In practise my interest was always in the bigger picture, the complexities of the neighbourhood, rather than the single building. I was involved for many years in public consultation and participatory design, often working with communities in deprived areas to imagine a L a Ha usse | 27
better future for themselves. We communicated through masterplans, populated them with little scenarios based around the lives of the future occupants, weaving stories that linked the new buildings, open spaces and facilities to the lives of people. This tendency to want to weave stories around places hasn’t only manifested itself around my working life. Whenever I visit a new place, my first instinct is to get hold of a map. There is a real pleasure in studying a map and then discovering the physical reality. One of my most memorable holidays was as a teenager going on a cycling tour of East Anglia with my dad and my younger brother and sister. We had various overnight stopping places plotted along the way, but each day we would consult the map and work out the most interesting looking route – hills, views, rivers, buildings to visit… all the delights that the landscape offers. And then we would follow our chosen way and I can still remember an almost euphoric sense of seeing what we had read on the map unfolding before my eyes. For many years afterwards I could recreate in my mind’s eye each stage of the journey. I think the map reading helped to pin it there. Maps perform all sorts of functions. On a purely aesthetic, abstract level, they are beautiful drawings. They convey, at a basic level, geographical information: where things are (pre28 |
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cisely, in the case of Ordnance Survey Maps), or where things are in relation to each other (organisationally, as in the case of the London Tube Map). Information is shown in a variety of fashions. Colour, texture, pattern, lines, symbols and words combine to provide a language that translates a 2-d image into a 3-d mental model. If you thumb through an atlas you will see maps showing distributions of minerals, rainfall, temperature, population, social and geo-political boundaries. In fact you soon realise that maps are above all powerful story telling devices. So how does all this manifest itself in my work today? The common themes are the desire to tell stories, or to be more precise a desire to discover stories. In fact this goes right to the heart of a technique I frequently use in my work. It stems from the fact that I find it easier to react than to be create a story from scratch. It’s a method for getting past the search for inspiration and the mental block that a sheet of blank paper can induce. My drawings often start with ink splashes or marks on the paper, not completely random as I choose colour, and intensity of distribution, but chance plays a large part. Once the ink or paint has dried I come back to them – sometimes months later – and look for shapes, perhaps in the way that people look for recognisable forms in clouds.
This is a technique that I apply in different started drawing, seeing what happens. With ways with different levels of pre-construc- some of these I did a bit of visual research, tion. wanting to include particular buildings, but on the whole there was no underlying plan, I think my most purely ‘aesthetic’ work (i.e. just a technique that I knew would take me not necessarily concerned with narrative) from A-Z. are the flowers. Even with these I sometimes populate them with little insects, or other This ‘start at the bottom’ and work up apcreatures. proach is one that I have also adopted with my drawings of I like drawing lots of cityscapes. Again small things. I take these are una piece of paper planned, I have no about 10cm square idea what’s going to and splash some ink appear on the page. on it. These marks It really feels akin become tiny figures. to that experience I fill a piece of paof looking at a map per with them and then seeing the realthen say to myself ity unfold. It has the “What are all these same thrill of walkcharacters up to?”. ing the streets of I think writing a an unfamiliar city, caption transforms never knowing what the drawing from a you are going to find pleasant doodle into round the next corsomething else. It ner. contextualises the drawing in a way In the last few that surprises and months I have bedelights. The joy for gun to combine me is that the techthese methodolonique allows me to gies to make larger discover stories. canvases and ink drawings. They feel Another technique like the different which has a similar outcome is just to start strands coming together: partly reintroducat the bottom and work up the page. It seems ing paint into my work, but also using the simple but it is actually very liberating. I ‘guided’ randomness to provide a frameknow that I don’t have to worry about what work in which I create a part of a city and the drawing will be. This is how I did my ‘Lit- then people it with tiny little stories, many of tle Men’ series. I would have an idea for a them mysterious and open to the interpretascenario, such as a middle eastern flavoured tion of the viewer. I can’t help seeing these setting, or a great construction project. I canvases and drawings as part of a conurbapencilled in some regular grid lines to keep tion of some sort, I’m gradually exploring the the perspective consistent, and then just various neighbourhoods. http://www.worldofmoose.com L a Ha usse
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la hausse
PHOTO EVENT 2012
DISCOVE
SUBMIT YOUR PHOTOS for CONSIDER editor@lahausse.co.uk
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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
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The Stars a
With the nigh at the stars, fo
However, the the festive se in by gone er better inspirat
Sculptures by George Mark
Most of us thi tured portraits men to repres that George M and a distinct
Exciting and up close and and spirit as w viewer to see foster a growi
With an impre what portraits yearly calend fill the bars an Wayne Rooni
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are Shining
ht sky a blanket of navy and the air it’s crispest, there is no better time to gaze or it is in the winter night sky that the stars above seem to be at their brightest.
e same could be said for many of our earthly stars, both past and present, as eason brings around a sense of nostalgia and celebration that sees us indulge ras as well as hopes for the future; and for Sculptor George Mark there is no tion for his ‘sculptured portraits’ than our earthly stars.
ink a portrait to be a piece of art created in paint. The few who think of sculps would likely think of busts in museums that were created by long gone craftssent the likenesses of important and historical figures. It is therefore refreshing Mark has taken this medium of portraiture and fused it with modern subjects tive style that is in keeping with our time.
dynamic, Mark’s sculptured portraits have a sense of life. Whether you get intimate or view from afar, you are likely to get a sense of the subject’s mood well as what the artist’s unique vision was. Versatility of viewpoints allows the e something different from every angle. This and the vibrancy of Mark’s pieces ing connection and relationship with the artwork.
essive array of stars, commissions and fantasy figures it was difficult to choose s to show you. But the festive season led the way as it is at this time in our dar that The Duke graces our screen in his epic westerns, Johnny Cash tunes nd restaurants, Old Blue Eyes is heard blasting out ‘New York- New York’ and ie goes ’kick-about’ on frosty pitches.
©2011 Ann Tocoda L a Ha usse | 33
‘One in 9 babies in the UK is born prematurely, too sick or too small to make it on their own. Without the vital care that is provided by Neonatal Units, 80,000 babies a year, run the risk of dying.’
So Precious' is a charity that was set up to support Neonatal and Maternity Care in Forth Valley. It is run by a number of parents all with a passion to raise funds for the unit which saved our baby's lives. So Precious is now a registered charity and we have been accepted as the official charity raising funds for Neonatal and Maternity Care in Forth Valley. One in 9 babies in the UK is born prematurely, too sick or too small to make it on their own. Without the vital care that is provided by Neonatal Units, 80,000 babies a year run the risk of dying. As a Nation, we are fortunate to have NHS Neonatal Care "on tap". No questions asked. No forms to complete. No financial checks made. Life-saving care just happens. Neonatal and maternity care is always high on any political party’s agenda and budgetary cuts are not an option. But there is always a desire for better equipment, more bottle warmers, more efficient scanners and more luxurious cots and beds to enhance the incredible care delivered by neonatal units like that in Forth Valley. At So Precious, we aim to deliver that enhancement over and above what we can reasonably expect the NHS to provide. Creating a better environment for patients, parents and staff is a key objective and your help can make all the difference. As well as supplementing capital expenditure, So Precious aims to create a neonatal community. The neonatal experience can be daunting and isolating. With our help, neonatal parents will find the ability to communicate with other neonatal parents, past and present, and share experiences, feelings and support each other through the good times and the tough times. A baby being born at 24 weeks plus, although unusual, is not uncommon nowadays and many of our babies survive and have survived due to the work of this unit and many like it. People also tend to forget that babies born at full term can also require time in the neonatal unit. So Precious have many events planned for the coming 12-18 months, all of which will hopefully raise much needed funds. We need the support of people like you in order to continue our mission. The work that the Neonatal Unit do is amazing and this is proven by the healthy, happy babies and toddlers my colleagues and I have today. Please support this very worthy cause.
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Not my Fault by David W Oddy
‘Not my fault’ said the Spider ‘Not my fault’ said the Fly ‘Not my fault’ said the little Butterfly As she went a fluttering by ‘Not my fault’ said the Hedgehog ‘Not my fault’ said the Mouse ‘Not my fault’ said the busy Bumble Bee As he buzzed around the house. ‘Then who’s fault is it?’ asked the curious Cat ‘Who’s fault is it indeed’ ‘It cant have happened on it’s own Of that we are all agreed?’ ‘It doesn’t really matter’ said the wise old Owl ‘As we will never know - that’s plain.’ ‘What matters most is we put it right ‘And it doesn’t happen again!’
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Hannah Mai
Hannah was born in 1986 and lives in Amersfoort (Netherlands). She started photography about 18 months ago. Be� fore that she learn't how to handle a camera, but had no idea of what she wanted to photograph. In May 2010 she decided that she wanted to give model photography a try. It started as a normal hobby and developed very quickly into something that takes most of her time. 'For me, what counts most in my pictures, is ambi� ance. I don't care too much for technique'. Hannah said. 'I'm inspired by antiques, analogue photogra� phy, darkness, my models, nature, sad music and my own feelings. Combined, they form the ambi� ance in my photos.' Her vision of how her photos should be is getting more clear. 'I'm still searching and developing my own style. I'm still at the start.' Processing is a big part of creating the image for Hannah. She play with colours and structures, some� times paint, words and ink. 'I take pictures of in� teresting things and blend it with the photos. I just keep going with adding and removing things, until I am satisfied. Until I have the image that I was looking for.' l a ha usse | 37
Hannah has established a v working relationship with els who feel comfortable and contribute to bringin essence of the pictures th trying to portray. Together they work as a team and so she considers that it is very important to mention them and so acďż˝ knowledge the help and input that they have given to her work. The models feaďż˝ tured here are: Nadine S. Charlotte G. Gretchen R. Melissa H.
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www.hann
very good her modďż˝ e with her ng out the hat she is
nahmai.nl
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shout box We want to hear from you. What do you think about the Magazine? How could we improve it? lahausse@gmail.com
Just a note to say how much I love the magazine and admire all the creative work you put into it! Michael Kirchoff
I love the mag and will certainly buy the Flipbook. Susan Thomas I’ve been advertising La Hausse (and will continue to do so) on FB and my e-mail contacts list Stephen Najda I recently received my hard copy of the magazine and enjoyed reading through it . You can see what a supreme effort you have made with this magazine. A lot of personal input. Robert Kelsey La Hause goes from strength to strength. Peter Connors
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I think this magazine is excellent and I look forward to reading it with anticipation. Keep up the good work. F. Masters I have watched the development of La Hausse with interest especially all the artists that you have featured. Keep this up as I know how hard it is to get a platform for your work and so this magazine is providing a great service to up and coming artists everywhere. I have told my friends about it and will continue to support you. Well done. Cathy Meadows
Can I wish everyone a great Christmas and a Happy New Year. Suzie Sutton
Good to see that you have got some people on board to help you out. I know what it is like trying to produce something like this on your own. Have you thought of getting someone to do your admin? I know that it would help. Frank Arnold
If the Magazine continues improving as it has over the first few editions it will certainly be a success. Well done Nigel Peterson Superb! F. Good
I loved the interview with Robert Llewellyn. He is a great guy and I find him very interesting. If you include more interviews like this I for one will buy the flipbook. John Comber
I wait eagerly every edition to read the articles about the artists that contribute. It is so refreshing to see a magazine that promotes unknown artists in this way. Madge Evans
I am doing a course at Uni on the media and the arts and I love watching how your magazine is developing. For am amateur you are really doing well. Charlie
Well done! Please keep the magazine going as I love it and reading the different stories and articles. Zoe B In the future I would love to see some articles on architecture, sculpture, maybe even wood carving. These are the sort of things that many magazines do not feature and I am sure that your readers would be interested. Good work though. David Smith
Happy Christmas to all the readers of La Hausse. I have enjoyed the first editions and look forward to seeing how the Magazine develops. I hope that you all have a prosperous New Year and the La Hausse goes from strength to strength. Kev Parker
La Hausse website Our website is now available and will be built on over the coming months. lasausse.co.uk L a Ha usse | 41
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J
oe Simpson is a figurative painter currently living and working in London. His paintings have been shown both nationally and internationally, including prestigious venues such as Urbis, Manchester City Art Gallery, Cornerhouse and The House of Commons. Joe works primarily in oil paint to create realistic images that utilise the conventions of cinematography to present ‘staged’, fictitious scenes where time has been stopped and extended. These frozen moments are deliberately ambiguous, inviting the viewer to inject their own emotions, motivations and narrative context into the scene, thereby avoiding limiting interpretation. Joe has completed several large scale commissions for prestigious clients, including a series of paintings for P&O, Standard Chartered and the Professional Football Association. His work is owned by notable collectors and celebrities. His largest exhibition ‘Almost There’ received funding from the Arts Council England and corporate sponsorship from Audio Technica.
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‘Musician Portraits’ is a new project in progress by Joe Simpson that will be shown The project is a series of paintings of famous singers, musicians and bands. There notable acts already involved, including Mark Ronson, The National, Faithless, Vam Iron & Wine.
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n as a major exhibition later this year. e are a number of high profile and mpire Weekend, Paloma Faith and
Joe is approaching his favourite musicians from a wide range of musical genres and nationalities to include in the series. The project is set to be a unique exhibition, with a fantastic line up of some of the best musicians in the industry. Once the subjects have agreed to be included in the series, Joe meets up with each artist to take original photographs to work from to create an original oil painting. Joe is aiming to complete around 25 paintings for the series.

 The portrait of Maxi Jazz has been selected for the BP Portrait Award 2011 exhibition. Joe Simpson - www.joe-simpson.co.uk L a Ha usse | 45
SEASONS GREETINGS from everyone at La Hausse
EAT DRINK “A man hath no better thing under the sun, than to eat, and to drink, and to be merry: for that shall abide with him of his labour the days of his life, which God giveth him under the sun.” (Ecclesiastes 8:15) There is nothing better in life than to eat, drink and be merry but consider the quotation above carefully. What does ‘under the sun’ mean or allude to? Up until death perhaps? Now this article is not about doom and gloom but the celebration of life and perhaps ‘eating, drinking and being merry’ while you can is not a bad thing providing that it is not all that makes up your life. Consideration for others must be part of it and this time of year tends to remind us about thinking of others perhaps not so fortunate. Christmas can be a leveler for some people who struggle to survive in this ‘rich
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Christmas is a special time of year when families come together, but for some it can be traumatic. W E A R E ALL C HI LDREN AT H EART, EXCITED AN D E N T HRAL L ED AN D F U L L O F E XPECTATI ON S AT THIS SPECIA L TIME OF T HE Y EAR - B U T T HI N K ON .
AND BE MERRY and have a prosperous New Year man’s world ‘ (ABBA) and perhaps all of us should take some time out to consider the lot’s of people less fortunate than ourselves. The question though is; why do we only think this way at this time of the year? Just giving to a Charity once a year because the Christmas message has pricked our concious is not enough. For those less fortunate Christmas is like every other day - a struggle to survive. This year why not make it different. Why not give your donations as you do every year but give a little more, not in cash but in your time. Sometimes talking to someone can help and listening even more so. Put yourslf in a position where you have to respond to the less fortunate and not turn a blind eye to the problems all around you for the next eleven months. Now this is easy for me to say and no doubt reading this you will be thinking ‘fine, but what
can I do to help’, well here are a few suggestions: Choose a Charity to sponsor then, • When shopping try and buy the offers ‘buy one, get one free’. Give the free one to the Charity when you have enough for a trip. • Give your unused ‘Special Offer’ coupons to your Charity who will put them to great use. Ask your friends not to throw theirs away but give them to you for this idea as well. • If you purchase some large item at Christmas like a T.V etc. when you have negotiated your deal ask the shop to give an extra 5% that you will give to your Charity. The purchase will be on condition this happens - you will be surprised the response you will get. • Always carry some unperishable food in your car that you can give to someone instantly. A bar
of choculate or a packet of fruit and nuts may not sound a lot but is easy to give quickly and move on. I could go on but no doubt you have got the message. Little things do help in the long run and costs nothing - other than your time and remembering that time is so precious to all of us and it is limited, giving it to someone else is a gift from the heart and something that will be appreciated. We live in a troubled world and for some it gets no better but a little consideration, some compassion and the giving of ‘time’ - YOUR time - will in a small way help ensure that someone elses Christmas is enjoyed and not feared. I wish you all well this Christmas and hope that you and your families have a wonderful time and that you receive all that you have wished for.
Happy Christmas
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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 below). 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.
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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.
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We would like to acknowledge the following for permissions to use material: copyright-free-images.com wallpapervortex.com photos8.com thecountyhallrestaurant.com tommtaylor.wordpress.com sketchedout.wordpress.com www.hogarths-wildlife.org www.clipartpal.com www.mycutegraphics.com General Wikipedia
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