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issue 1 volume 3 | september 2011
Street Art A Fascinating Insight
Robert Llewellyn Not A Bad Bloke!
Landscape street painting - art or not? Beauty Abounds
A Fascinating Medium
ES MIRACL TAKE A LITTLE LONGER
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french couture adding a splash of glamour
| to submit articles, photos etc. please contact us at: lahausse@gmail.com |
6. Lodge Tyler Cowans Beware.
September 2011 Edition
CONTENTS
8. Street Art
la hausse a window on the world
Art or Not.?
10. Street Artist Extrordinaire
EDITOR David Oddy
Tracy Lee Stum
REPORTER Ann Tocoda
16. French Couture
PROOF READER Linda Buckley
Ann Tocoda
24. Landscape Photography Beauty Abounds.
28. Ceanegal Lynne Bennett-Mackenzie
34. Masters Spotlight
PHOTOGRAPHER David Oddy CONTRIBUTORS Tracy Lee Stum Ann Tocoda Lynn Bannett-Mackenzie Robert Kelsey Catey Bean Tara McCarthy Paolo Avigo Stephen Najda
Robert Kelsey
36. Tennis
EDITORIAL ENQUIRIES editor@lahausse.co.uk
The Psychology Of Tennis
This First Edition features France and it is hoped in future with help from contributors to feature other Countries as well.
41. Paintings And Illustrations Paolo Avigo.
42. An Enigma In The Art World Stephen Najda.
46. Robert Llewellyn Not A Bad Bloke!
48. Pugh, Pugh, Barney McGrew
Copyright Š 2011 La Hausse Acknowledgements: see page 43 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.
Cuthbert, Dibble and Grub.. Cover Photo: Tracy Lee Stum 2|
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EDITORIAL | Trying Too Hard
THE SHOW WILL GO ON
EVOLUTION IS THE SLOW CREATION OF SOMETHING SPECIAL
This is the third edition of La Hausse and whilst the original plan was to have as wide a theme as possible encompassing all areas of interest it has become obvious that this approach was not correct. I have received several communications telling me that I should concentrate
on a specific topic as Magazines of general interest are two a penny plus trying to do too much will loose focus. I accept these criticisms totally and so the Magazine will now lean more towards the Arts in general and concentrate on producing something that, whilst will be a ‘niche’ market, will hopefully be supported and encouraged by artists from all fields. It has also been decided to fix the amount of pages because any more will become too expensive and any less will detract from the Magazine. Some padding in the next few editions may be needed but I will try and restrict it to matters appertaining to the Arts. I have been encouraged by the amount of interest shown in La Hausse but it now needs regular
input either from permanent contributors or from contributions from many other fields - or both. It has been an exciting journey for me. I have never produced a Magazine and when I decided some months ago to ‘give it a try’ I had no idea if it would happen, if it would be accepted, the amount of work involved and the attention to detail that producing such an animal requires. I have enjoyed it tremendously and
whilst it has now become part of my life I must pause and thank my wife for her patience and understanding. Little did I know the time that would be involved and her great support, when I have been glued to the computer for hours, has made it possible. I would like to welcome on board as part of the team, Ann Tocada and Linda Buckley. They are both very involved in the Arts and are an asset to the Magazine.
David W Oddy Editor
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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.
Catherine McI
ANN TOCODA
(Columnist and 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.
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Intyre
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LODGE TYLER COWANS BEWARE Other duties often involve preparing the room for meetings, supply regalia, and act as permanent caretaker of the furniture and premises. William Hogarth’s famous print of Night shows a drunken Mason being helped home by the Tyler, from one of the four original Lodges in 1717 at the Rummer & Grapes tavern. In some Jurisdictions the Tyler is appointed by the Worshipful Master, while in others he is elected by the members of the Lodge. C OWAN S AR E P REV ENTED ENTRY BY TH E L OD GE T Y L ER. A DRAWN SWORD ENSURES T HI S M ASON I C LOD GES ARE P RIVATE AND EN T RY I S F ORB I D D EN TO A LL BUT F REEMASONS A ND EV EN THEN ON LY AF T E R B E I N G C H AL LEN G ED A ND P RO VEN BY TH E TYLER
Tyler (or Tiler) is the name of the office of outer guard of a Masonic Lodge. Early speculative Masonic lodges met in rooms in taverns and other public meeting places, and all Lodges appoint a Tyler to guard the door from unqualified, malicious or simply curious people. Although an Officer of the Lodge and often a highly experienced Past Master, he may be considered akin to a sergeant: In some cases the Tyler may not even be a member of the lodge, but a mason from another lodge employed for the purpose. 6|
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He is charged with examining the Masonic credentials of anyone wishing to enter the Lodge and keeping unqualified persons from infiltrating Masonic meetings, and admitting only those qualified. In most jurisdictions, the Tyler is required to be outside the Lodge door for large portions of the meeting, although usually in a position to overhear the proceedings. The position has often been given to a deserving Mason who has fallen on hard times, such as the original Grand Master Anthony Sayer, or to a
senior Lodge member who can help and advise those kept waiting outside. In some jurisdictions, the Worshipful Master has the authority to permit or direct the Tyler to “tyle from within” during the non-ritualistic portions of a meeting. If tyling from within, the Tyler must first secure the outer doors of the Tyler’s anteroom. He would then leave the inner door open between the lodge room and the Tyler’s anteroom, and sit at the seat closest to the door, still holding his drawn sword. Tyling from within enables the Tyler to participate in the business portions of the meeting, voice his opinions, volunteer for committees, deliver reports, and receive instruction if any be given. Many Tylers hold such positions in several Lodges and can remain in these positions for many years. They are normally the first ‘Masonic’ influence that a candidate receives and bonds are made that can last a lifetime, many Tylers taking a close interest in their candidates Masonic careers.
A POSITION OF AUTHORITY THE TYLER IS THE ‘GUARD’ AND ENSURES THE SECURITY OF THE LODGE
A MA SO N I C L OD GE I S J U S T A ROOM - F REE M AS ON RY I S I N T H E H E A RT NOT A SECRET SOCIETY BUT A SOCIETY WITH SECRETS
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street art
Street art is any art in public spaces that is, in the streets though the term usually refers to unsanctioned art, as opposed to government sponsored initiatives. The term can include traditional graffiti artwork, stencil graffiti, sticker art, wheatpasting and street poster art, video projection, art intervention, guerrilla art, flash mobbing and street installations. Typically, the term street art or the more specific post-graffiti is used to distinguish contemporary public-space artwork from territorial graffiti, vandalism, and corporate art. Artists have challenged art by situating it in nonart contexts. Street artists do not aspire to change the definition of an artwork, but rather to question the existing environment with its own language. They attempt to have their work communicate with everyday people about socially relevant themes in ways that are informed by esthetic values without being imprisoned by them. Wikipedia 8|
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tured in the book ‘3D Street Art’, by Birgit Krols, Tectum Publishing, 2010.
T
racy Lee Stum is an internationally recognized American street painter who specializes in dynamic, interactive 3D street chalk art images. A visionary and leader in the chalk art world, Tracy’s wealth of experience, expertise and imagination makes her one of the most highly sought after working artists in this medium today. Born in Chambersburg, Pennsylvania, Tracy began drawing as soon as she could hold a crayon in her hand. She studied privately as a child, then completed a four year Bachelor’s degree program at Tyler School of Art in Philadelphia. She continued her studies in naturalism at the Florence Academy of Art in Italy. Tracy began street painting in 1998 and is considered by Madonnari peers, festival directors and viewers to be amongst the finest street painters today. Tracy has participated as an invited, featured artist in many festivals and events in the US and internationally, where her paintings have won numerous awards & accolades - she currently holds a Guinness World Record for the largest street painting by one individual, which she set in 2006. Tracy’s work is also fea-
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Best known for her spectacular 3D anamorphic and interactive street paintings, Tracy is actively creating commissioned works in chalk for leaders in the advertising, events, corporate and educational sectors. She recently completed the first ever 3D chalk art mural at the United States Olympic Committee USA House for the 2010 Olympic Winter Games in Vancouver, B.C., which commemorated past Winter Olympic Hall of Fame members. The level of excellence, quality and mastery in her work distinguishes Tracy as an obvious choice for any successful marketing or communications campaign.
Tracy Lee Stum
Tracy is a leader in organising large scale public arts projects worldwide, with extensive knowledge of project management and planning through to international team building. Tracy has also consulted in the development of street painting festivals
Chapel ceiling for the Youth In Arts 10th Anniversary street painting festival in 2003, Hong Kong’s first ever Street Painting ‘Spectacolore’ in 2005 and a second reproduction of the Sistine Chapel ceiling in conjunction with the 2007 Universal Forum of
in China, Mexico, India and throughout the US.
Cultures in Monterrey, Mexico.
She completed a street painting tour of India in 2009, sponsored by the American Center at the US Consulate General, creating exhibition 3D street paintings and teaching workshops at 5 distinguished universities and art colleges in that country. She was selected to coordinate the following projects: a reproduction of Michelangelo’s Sistine
Additionally Tracy promotes arts education and has conducted street painting workshops at many of these festivals, along with other events and locations throughout the US including the prestigious Getty Center in Los Angeles. www.tracyleestum.com L a Ha usse | 11
LONDON
PA RT THRE E - LOND ON I N TH E 16TH A N D 17TH C EN TU R I E S
T
he population of London may have reached 120,000 by the middle of the 16th century and about 250,000 by 1600. In the Middle Ages the church owned about 1/4 of the land in London. When Henry VIII dissolved the monasteries it released a great deal of land for new buildings. Nevertheless the suburbs outside London continued to grow. In the late 16th century rich men began to build houses along the Strand and by 1600 London was linked to Westminster by a strip of houses. II
Banqueting House was built in 1622. In 1635 the king opened Hyde Park to the public. In 1637 Charles I created Richmond Park for hunting. Also in 1637 Queens House was completed in nearby Greenwich. Wool was still the main export from London but there were also exports of ‘Excellent saffron in small quantities, a great quantity of lead and tin, sheep and rabbit skins without number, with various other sorts of fine peltry (skins) and leather, beer, cheese and other sorts of provisions’. The Royal Exchange where merchants could buy 12 |
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and sell goods opened in 1571.
Pauls by a much larger parliamentary army. The royalists withdrew. However the Puritan government of 1646-1660 was hated by many ordinary people and when Charles II came to London from France in 1660 an estimated 20,000 people gathered in the streets to meet him. All the churches in London rang their bells.
In the early 17th century rich men continued to build houses west of London. The Earl of Bedford built houses at Covent Garden, on the Strand and at Long Acre. He also obtained permission to hold a fruit and vegetable market at Covent Garden. Other rich people build houses at Lincoln Inn Fields and at St Martins in the The last outbreak of plague in Fields. London was in 1665. But this was the last outbreak. In 1666 came On the other side of London the great fire of London. It behovels were built. The village of gan on 2 September in a baker’s Whitechapel was ‘swallowed up’ house in Pudding Lane. At first it by the expanding city. The vildid not cause undue alarm. The lage of Clerkenwell also became a Lord Mayor was awoken and said suburb of London. Southwark also “Pish! A woman might piss it out!”. grew rapidly. All this happened de- But the wind caused the flames spite outbreaks of bubonic plague. to spread rapidly. People formed It broke out in 1603, 1633 and chains with leather buckets and 1665 but each time the population worked hand operated pumps all of London quickly recovered. to no avail. The mayor was advised to use gunpowder to create fire Then in 1642 Civil War began breaks but he was reluctant, fearbetween king and parliament. The ing the owners of destroyed buildroyalists made one attempt to ings would sue for compensation. capture London in 1643 but their The fire continued to spread until army was met 6 miles west of St the king took charge. He ordered
French Protestants fleeing religious persecution arrived in London. Many of them were silk weavers who lived in Spitalfields which also became a suburb of London.
sailors to make fire breaks. At the same time the wind dropped. About 13,200 houses had been destroyed and 70-80,000 people had been made homeless. The king ordered the navy to make tents and canvas available from their stores to help the homeless who camped on open spaces around the city. Temporary markets were set up so the homeless could buy food. but the crowds of homeless soon dispersed. Most of the houses in London were still standing and many of the homeless found accommodation in them or in nearby villages. Others built wooden huts on the charred ruins. To prevent such a disaster happening again the king commanded that all new houses in London should be of stone and brick not
In the 17th century wealthy Londoners obtained piped water for the first time. It was brought by wood. Citizens were responsible for rebuilding their own houses but canal from the countryside then a tax was charged on coal brought was carried by hollow tree trunks by ship into London to finance the under the streets. You had to pay to have your house connected. rebuilding of churches and other After 1685 oil lamps lighted the public buildings. Work began on streets. Hackney carriages became rebuilding St Pauls in 1675 but it common in the streets of London. was not finished till 1711. In the late 17th century fashionable houses were built at Bloomsbury and on the road to the village of Knightsbridge. Elegant houses in squares and broad straight streets were also built north of St James palace. Soho also became built up. As well as building attractive suburbs the rich began to live in attractive villages near London such as Hackney, Clapham, Camberwell and Streatham. In the east the poor continued to build houses and Bethnal Green was ‘swallowed up’ by the growing city.
In 1694 the Bank of England was formed. It moved to Threadneedle Street in 1734. Billingsgate was a general market until 1699 when an Act of Parliament made it a fish market.
Please see Acknowledgements on Page 43 L a Ha usse | 13
WOULD YOU LIKE TO ADVERTISE HERE? lahausse@gmail.com
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Janu
ary
y r a u r Feb March April
Who Stole August? “Someone’s stolen August”, The Met Office declared, “They’re meddling with the seasons And everyone is scared”. The sun is up there crying Because someone told the clouds To gather wind and rain And disperse the seaside crowds.
May June
Jack Frost is very nervous, He’s worried he might thaw, He’s locked himself in deep-freeze With dead bolts on the door! Santa’s in a panic, His elves are in dismay, Anxious that they’ll also come And steal our Christmas day.
July September October
Nove
Easter Bunny’s in a pickle, What if spring disappears? The poor thing’s just sat there Scratching at her ears. Catey Bean the Poetry Queen
mber
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C O N TR ARY TO F RENCH H AUTE COUTURE OR F REN C H H I G H FASHI ON ( “HAUTE” MEA NING “HIGH”) , WHI C H C AT E R ED TO THE V ERY RICH , WITH DRESSE S T HAT C R O S SED T HE £ 10,0 0 0 MARK, FRENCH CO U T U RE C AT E R ED TO THE MIDDLE CLA SS A ND DID N OT R E S TRI CT I TSELF TO DRESSES BUT A LSO FO RGE D I N TO HAN D BAG S, SH OES ETC.
FRENCH COUTURE an article by Ann Tocoda
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s with French wine, French perfume and French cuisine; French Couture gives a statement of quality and supremacy. The word couture means to sew and to make clothes but figuratively it means fashion, and for devoted followers of fashion there is no truer statement than ‘Dressing is a way of life!’ said by the French designer Yves Saint Laurent. French leadership in European fashion began in the 1800’s when the fashions of the French Court at Versailles began to
be copied across Europe. Individual garments were purchased in Paris and taken by ship to other countries to be copied and worn by fashionable ladies who wore the imitated designs with great excitement. Nothing however, no matter how good the copy was regarded as good as any fashions made in France and so as soon as the industrial revolution took hold and railways and steamships made France more accessible, wealthy women made their way towards France and ultimately Paris in order to purchase Parisian Fashion. At this time an Englishman born in Bourne, Lincolnshire, England made his way to France and began to revolutionize the fashion industry. 16 |
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His name was Charles Frederick Worth born October 13th 1826. Making one-of-a-kind designs for wealthy and titled clients, Worth decided to make ‘samples’ of his French Haute Couture gowns and show them on live models. The wealthy clients then chose a design and colour and had it made to their own specific requirements in the Courtier’s House of Worth...the catwalk had arrived! Worth died in 1895 but the words Haute Couture lived on. Haute is french for high, haute couture is french for high sewing. Haute Couture refers exclusively to dresses,
FRENCH COUTURE FR E N C H COUTURE GIV ES A STATEMENT OF Q U A L I TY AN D SUPREMA CY
HAUTE COUTURE H A U T E C OUTURE REFERS TO DRESSES, TH E S T Y L E I N WHI CH THEY ARE MADE, A ND FA B RICS U S E D the style in which they are made and in what fabrics they are made of. To be considered haute couture a dress is usually made of exceptionally high quality fabric costing a high sum and selling at above the $10,000 mark. The making of the dress is costly, with only the best seamstresses involved and often painstakingly finished by hand and with hand made embellishments. Today, in modern France, the term ‘haute couture’ is protected and can only be used by a designer or design house if the firm meets a certain well defined criteria. The members
of the 2011 Chambre Syndicate that meet this criteria are few and far between and include Chanel, Christian Dior, Jean Paul Gautier, Frank Sorbier and Adeline Andre amongst a few others. The price excludes most from purchasing but at least we get to view these wonderful creations on celebrities who walk the red carpets and step up on stage to collect their Oscars and Golden Globes. However ‘Couture’ unlike ‘Haute Couture’ can refer to more than just dresses and includes bags, shoes, ladies suits, blouses and swim wear and as such French couture caters to the middle classes and offers feminine creations that are designed with style and sophistication and executed in the most feminine of fabrics and materials. Just as designs were copied hundreds of years ago, French couture is still copied. However, unlike days of old when designs took weeks or months to reach their destination to be taken apart and copied, the latest french couture will be transported by image via the internet and transformed into cheaper, pear downed versions for the worlds high street stores. Although Paris now shares it’s fashion leadership and capital title with places like New York, London and Tokyo, French couture will always have a romantic place in the hearts of the world’s fashion designers. The iconic work of Christian Dior who introduced his line of ‘New Look’ clothes in the mid Forties is still inspirational and the ballerina skirt, the classic suit and the H, A and Y lines that transformed Fifties wannabes into silver screen goddesses are still staple classic wardrobe pieces that ooze glamour today.
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by David W Oddy
AH! LES FRANÇAIS
THE ADVENTURE STARTED IMMEDIATELY WHEN WE REALISED FOR THE FIRST TIME WHAT WE HAD DONE. BEING ALONE IT STARTED TO SINK IN. THERE WE WERE. BOTH IN OUR LATE FIFTIES, IN A STRANGE PLACE DOING SOMETHING NONE OF US HAD EVER DONE BEFORE, LIVING IN A TIN BOX ON WHEELS, SOLD EVERYTHING WE OWNED AND HAD WORKED FOR AND NO IDEA WHAT THE FUTURE HELD. WE WERE TERRIFIED.
FEAR IS SOMETHING YOU ONLY APPRECIATE WHEN IT
Part Three - What Have We Done? They say that everyone should have one great adventure in their lives and we were just about to start ours. Three weeks after selling the house we moved out and booked into a local Motel for the evening. My sister and our husband had kindly offered to store our bits and pieces and to look after our Cat, Blue. They had recently purchased an old, run down property which they were renovating and they were living in a caravan that they had put on site. During the afternoon whilst having a cup of tea with them we received a telephone call from our solicitors telling us that all monies had been transferred and that we now had a few pounds in the Bank, but no home. We were not due to collect the new Camper Van until the Monday morning so, after being invited to stay, we said we would move in with my sister the following day for a couple of nights.
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Four people sharing a caravan designed for two was quite an experi-
started to sink in. There we were. Both in our late fifties, in a strange place doing something none of us had ever done before, living in a tin box on wheels, sold everything we owned and had worked for and not knowing what the future held. We were terrified. For the first time sitting there alone, in the dark, thinking about our situation reality started to set in. What had we done?
ence and something that we would not really want to do again by choice. That evening we took my sister and her husband out for a meal during which we gave them a ticket for a holiday in Egypt that we had purchased that afternoon for them as a ‘thank you’ for all their help and for their support After an ‘interesting’ weekend on the Monday they drove us to Newark to pick up our new Camper Van. We spent most of the day at the dealers learning how to use the Camper Van,
purchasing several things for it like a TV, gas bottles, emergency kits, spare ‘everything’ and other goodies that we convinced ourselves we needed. That evening we drove back to my sisters and parked the Camper Van on her drive as she had offered for us to do this until we were confident enough to start on the unknown journey that we had ahead. After a couple of days sleeping in the Camper Van, finding out all we could about it and where things were we decided that the best way to discover all it’s foibles was to move onto a camp site and not rely on my sister and her husband who obviously helped in any way stheycould.
It was too late to go back. Everything had happened in a whirlwind. From the time my wife had asked me to find out more about France to selling everything we owned, purchasing a Camper Van and moving into it not four weeks had passed. Fear is something you only ever appreciate when it happens to you, and we were frightened. In the next edition we venture further afield. Visit our families and wish them goodbye and finally head towards the Channel Tunnel confident that what we were doing was the right thing for us and that whatever happened we were going to enjoy this trip of a lifetime. Little did we know then what lay ahead.
About fifteen miles away there was a camp site that we had been told was good and so we packed up, thanked my sister and her husband and headed out for the first peat of what was to become an exciting, entertaining, informative and sometimes hairy adventure. The adventure started immediately when we realised for the first time what we had done. Being alone it
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GALLERY
GALLERY
GALLERY <
TRACY LEE STUMM 3d street artist
<
TRACY LEE STUM
> <
ROBERT KELSEY fellow of the royal society of arts > 20 |
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ROERT KELSEY
GALLERY
GALLERY
GALLERY <
ANN TOCODA has a very interesting style
ANN TOCODA
> <
FRANK MCNAB ‘a bad-tempered intolerant grumpy old bastard’
FRANK MCNAB
> l a ha usse | 21
106 Dundas Street, Edinburgh, Scotland
IF YOU HAVE THE OPPORTUNITY TAKE A TRIP TO A GALLERY, YOU COULD HAVE YOUR MIND FILLED WITH IMAGES AND DELIGHTS THAT LAST A LIFETIME.
TUTORS AND PUPILS Recently, I visited The Braewell Gallery in Dundas Street in Edinburgh to view an anticipated exhibition that featured four of Scotland’s most respected artists. The area in Scotland’s Capital City where the Gallery is located is home to some wonderful Art Galleries and Braewell Gallery is no exception. The name of the exhibition was ‘Tutors and Pupils’ to reflect that two of the artists, who were art tutors, 22 |
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named Alexandra Gardner and Liz Knox were exhibiting with the magnificent talent of their pupils Frank McNab and Paul Kennedy. On entering the exhibition I was instantly drawn to Alexandra Gardner’s painting of a female dressed in a pale coloured robe with intricate little pleats and a flowing green ribbon, the detail and play of light was beautiful. Another of her paintings, larger and depicting a mixed
group had me peering at bustle dresses in awe and gave me cause to think of the top hats in Edward Manet’s painting ‘Masked Ball At The Opera’ painted 1873-4. As Alexandra Gardner was once Frank McNab’s tutor it was fitting that his paintings were hung next to hers. Frank McNab’s work reminded me of the past masters with dark and warm tones of colour blended in such a masterly way that I found myself thinking I could live with the colours forever while never feeling tired of trying to work out what was going on amidst the strokes of perfectly applied layers of paint. One particular-
painting drew me close to the canvas, my nose almost touching, until I felt the need to ask the artist what was the meaning of the flowing haired Samson like figure holding up a bald female.
paintings/drawings of heads. Turmoil, distress and pain
trasting in style, her pupil, Paul Kennedy had work exhibited that warmed my heart. His depiction of young boys in 1950’s dress made me think of my father and his happy childhood growing up in a mining The artist told village. Two me that the of Paul Keninspiration for the painting nedy’s paintings are etched in seemed to transcend from was a loved one who was suf- these heads, making me think my mind. The first was fering illness. I then saw the of the fragility of the human painting as a representation mind and body. a large canvas of two boys of someone strong giving holding up a clutch of freshly support to someone in need. Equally brilliant but concaught fish that oozed nostalOther references in the paintgia. The second was a painting would have delighted the ing of a boy sat on top of a intellectuals, but I merely saw huge round bomb, seemingly love, and as we know, that is unafraid but at one with what the beauty of art, because at had been. the end of the day, the viewer is ultimately the master. They say that the measure of good art is if the art makes The other Tutor Liz Knox had you think and if the art cappainted a particularly large tivates you. Well, for me, the canvas that dominated the Tutors and Pupils exhibition entrance to the gallery. If her in Scotland’s Capital City did desire was to shock, captivate both. and make the viewer think, © Ann Tocoda then it was successfully executed with full figured ladies wearing little other than long gloves and masks. Along side the large canvas hung her L a Ha usse | 23
Landscape Photography Agnes Celina Very few of us are not inspired by majestic mountains, wide expanses of lush green grasses, fallen autumn leaves, sunsets or dewy glow on the land in the mornings. So, photographers thought that if human mind and heart is so pleased and attracted by these landscapes and scenes, then why not capture them and possess them. As this thought aroused interest, landscape photography emerged as a very fascinating hobby as well as career. Landscape photographers try to pick up the feel and spirit of a scene, so that the person viewing it doesnâ&#x20AC;&#x2122;t miss on the emotions part. Now, a lot of us are interested in how to compose these landscape photographs. Well, you might go about a few instructions and make your photography improved. First of all, try picking a really good time to capture the scene. As mentioned earlier, the reddish sunsets tinged with yellows and oranges or the soft, cool glows in the early mornings, are examples of the best time to shoot, as they create very unique impressions in the photographs. Try capturing the sky with cloud build ups or the ground covered with scattered leaves to include feel into the snapshots. Just because its landscape, it doesnâ&#x20AC;&#x2122;t mean the photographs have to be horizontal all the times. In fact, you should go for the opportunity of changing the orientation to vertical whenever its possible or when you feel it would add to your variety without missing out on any element of the photograph. In case, you use a telephoto lens, it is very hard to keep the camera very still for sharp, professional looking snapshots. In this situ 24 |
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ation go for a tripod and position it in such a manner that you donâ&#x20AC;&#x2122;t let go of any central object. Also, try capturing an old tree or fencing or something that conveys a meaning to the viewer as it adds to your landscape shotâ&#x20AC;&#x2122;s worth and interest. Photographs with high color saturation and contrast usually capture more attention of the viewer. For this effect, you could attach a polarizing filter so that you capture the finest of details in every photograph you take. This is usually very helpful when taking photographs that have all light tones or dark tones that you might fear would merge together and not stand out as separate items. You should balance the light coming from all sources in your snapshot and try capturing most of the landscape both far and near. A tip for all of the interested ones out there is try shooting the same landscape in different seasons or at different times to add to your variety and observe patterns and changes. It could be very interesting to notice how a place looks at different times of the day and the year. A common frustrating problem which occurs in photography is leveling. For this purpose, you use a tripod with a built in level, as unleveled snaps do not seem very appealing or professional. So good luck to you with your photography experience! L a Ha usse | 25
BBQ for Me And You Easy Barbecue recipes for quick, tasty meals. Prepare beforehand and cook to individuals taste
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Basic Burger 450 grams of best ground beef 4 slices cheese 1 tablespoon barbecue sauce 4 whole grain burger buns 4 slices red onion 4 leaves of curly lettuce 4 slices of beef tomato Sea salt and fresh ground pepper Garlic powder Combine salt, ground pepper and sauce to the beef and gently combine using fingers. Do not squeeze the meat too firmly to prevent the burger being tough. Divide the meat into 4 equal parts and form into patties. Cook the burgers for approximately 4 minutes per side for medium, checking that the centres are a minimum of 71째C. Add cheese to top of the patties. Close lid to melt the cheese and toast burgers one side only. Remove from grill and top with red onion, tomato and lettuce. Finish with ketchup, mayo or mustard.
Mexican BBQ Chicken 1 cup barbecue sauce 1 pack of your favorite taco seasoning 1 package boneless, skinless chicken breasts or drumsticks Mix the barbecue sauce and taco seasoning in a small bowl. Stir until well blended. Combine chicken breasts and barbecue mixture in large plastic bag; seal. Gently turn bag to coat chicken breasts with marinade. Place on a plate and put in the refrigerator for an hour. Remove from refrigerator and place on (pre-heated) grill on medium. Grill each side for about 10 minutes or until chicken is done or no longer pink in the center. Remove from heat and serve with your favorite side dish
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contact. We can befriend and easily contact people from the farthest reaches of this earth, talk online and show our works via Skype. This is the key to Ceangal, to bring artists from areas not usually so easily accessible and who otherwise probably wouldn’t visit this area, bring them to Scotland to work, blog
CEANGAL =
Connection
about the progress and document the events in motion.
A chat online with a fellow artist, talk of symposiums, never heard of Lynn Bennett-Mackenzie is an professional visual artist based those, but interested, maybe one day…… in Gairloch, NW Scotland. An area of stunning natural beauty but little direct access to art. She recently A year or so later, an invitation to an inter- attended the art symposium, “Breath of Epos” in Elabunational art symposium in Russia, an amaz- ga, Russia, and this helped inspire the idea for Ceangal.
ing
experience,
would
like
some
more…..
Somu Desai is also a professional artist based in Valsad, Gujarat, A few months later, another online chat, India. As well as doing his own work, he has good experience an artist who is involved with such events, of attending and leading residencies and workshops in many why not do such a thing here…why not? areas of India, as well as installation and performance art.
And so the idea for Ceangal was born. The two decided to combine forces to bring alternative art to
Social media, all around us, all the time now, an area where there is little or no access, in this instance, whether you tweet, post on FB or link up NW Scotland, and also to do this on a grassroots budget, through LinkedIn, this is the age of global asking people to contribute, not with direct monetary help, 28 |
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but in kind, helping out by donating time, services or premises. They aim to enthuse the artistic and non-artistic communities to get involved and see that art is for all, not just for elite and galleries. It can be hands on, fun and inspirational. The beauty of art is that you can create something out of nothing, or at least very little. Art can create interest, they hope that onsite works created in the area will encourage visitors to come and look, and then go away inspired to create and maybe get involved in other projects. The hope is to build an art experience that can be emulated in other small rural towns and areas, and also that a larger international network of connections will be made, so that people may travel to areas that may be off the beaten tourist tracks to experience culture and art on a real level. Lynn gave a short powerpoint presentation locally to gauge interest and support and has been in regular meetings with interested bodies like SNH, Hi-arts, Inchmore gallery, local schools, Gairloch Heritage museum, as well as updating individuals by email, the blog and local press and radio. As a result, support and interest has been brisk and they hope to build on this in the coming months.
ment. Lynn & Somu will also try to pull together all the various threads needed and put in place the organisation needed for the following year. This will allow them to begin to invite artists to apply from February 2012, allowing plenty of time for travel arrangements, visas etc to be processed. The actual residencies will consist of some excursions in the first few days, to allow artists to experience the area and see some of the places where they might want to work. The visiting artists will also be expected to give a short presentation about their work, country, culture â&#x20AC;&#x201C; anything that might be of interest to people here. There will be be entertainment on some evenings and the community will be actively encouraged to get involved. Ceangal also hopes to involve some art school students to come and work with the artists and experience working from a professional viewpoint. As with all new ideas, people often watch and listen to see what is going on, but Lynn & Somu sincerely hope that they will step forwards and get involved. After all, art is for enjoyment and that is what they aim to show people. Meanwhile, the Ceangal blog is the landing area for information about what is happening. So far we have had contributions from Chintan Uphadyaya, a very successful indian artist, and Johny ML, respected curator and writer. In future blogs we hope to have articles and interviews from many different sources including gallery owners, community members, artists, as well as musings about the project in general.
Somu will be coming to Gairloch in September 2011, and as well as getting a feel for the area, they will both be be giving presentations to the community, at the High school and at Inchmore Gallery, near Inverness, as well as working on some taster projects. This will allow people to see what kind of work might be expected in 2012 and pique interest so that people will want to experience hands on involve-
Š 2011 Lynn Bennett-Mackenzie L a Ha usse | 29
EASY ART
TIPS LEARN HOW TO DRAW - PENCIL 1 – Draw from life and not photographs. 2 – Do not attempt to draw every line and detail that you see. 3 – Do not try and get all of the information in your drawing completed at one sitting. Outline the general idea of your drawing and then slowly add in your details. 4 – Do not be overly judgmental about your drawing. 5 – Do not take on subjects that are too complicated at first. 6 – Forget everything you already know about a particular subject before you start drawing it. Draw what you see in front of you and not what you think it should look like. 7 – Excellent lighting is important. If you can’t see you
BE YOURSELF YOUR ART COMES FROM WITHIN
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can’t draw. If you do not have a well lit room with natural sunlight to work in, then check your local art store or online for full spectrum lighting products that mimic natural sunlight. 8 – Get yourself a pad of newsprint paper. Its very cheap and great for practice and doing preliminary sketches. 9 – Keep your pencils sharp. 10 – Vary the weight of your lines. Some artists forget to use this simple technique. 11- Keep a sketchbook with you wherever you go. The more often you draw, the more observant you will become. 12 – Do not over use smudging and blending techniques
. 13 – Never throw out any of your drawings. This is how to check your progress 14 – Avoid looking at your drawing too often. Make sure you are constantly focusing on the subject and only glancing at your drawing. 15 – Hold your pencil in a way that is most comfortable for you. Whichever method you use for holding your pencil, make certain that you do not hold the pencil too tightly. 16 – Practice the contour drawing technique – This is simply drawing the outline of your subject without any shading to indicate form. 17 – Practice the hatching technique – This technique uses a series of par-
allel lines drawn close together, in the same direction. 18 – Practice tonal or value drawing – In this approach to drawing you indicate the various changes of light and shade without the use of strong edges and lines. 19 – Practice the blind contour drawing technique – Do not look at the paper. This forces you to better observe what it is you are drawing. You should have no concern over the drawing. Do not peek! 20 – Practice drawing upside down – Drawing upside down will awaken the right side of your brain. This forces you to draw what you see as opposed to relying on your memory to draw something.
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ROSADO CAVA PRESTIGE BRUT An elegantly dry yet Cava with fabulous fruit and floral aromas is the ideal choice for summer and autum hot days. Not expencive and well worth trying.
TABALI RESERVA VIOGNIER 2010 This wine is a golden straw in colour. Crisp and well balanced wine with citrus, peach and apricot notes it is delicious as an aperitif or try it with a Thai salad. Wonderful.
BOSCHENDAL 1685 SHIRAZ CABERNET SAUVIGNON 2009 This is a great chardonnay. Red wines are often over looked in the summer, but nothing accompanies a BBQ like fullbodied, spicy, smoky red wines. This award-winning Shiraz Cabernet blend has hints of blackberry and blackcurrant making it a perfect accompaniment to BBQ’s.
ROBERT MONDAVI PRIVATE SELECTION SAUVIGNON BLANC 2007 The white wine has lemon and citrus fruit aromas with a hint of banana and spice. The wine is fresh with rich flavours of lime, grapefruit with a hint of melon.
DE BORTOLI VAT 7 CHARDONNAY 2009/10 This is a great chardonnay being produced in Australia. Full bodied with aromas of peach, nectarine and melon with the added notes of oak make this a must-have for the summer.
D’ARENBERG MONEY SPIDER ROUSSANNE 2008 Roussanne is a white grape originally grown in the Rhone district of France. d’Arenberg took the grape variety to the sunnier climes of South Australia to produce this lively white wine with nectarine, white peach, citrus and honey notes.
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MYTHOLOGY OF HORUS Horus was the Divine Child of Osiris and Isis. As the Incarnate God, his roles were numerous. He united the cosmic principles of male and female. He acted as the uniting force between Upper and Lower Egypt. He interceded on behalf of the King to the Gods and as a living God, it is Horus who bestowed supreme power and divine kingship to a Pharaoh. From his union with Isis he has four sons, guardians of the four Canopic Jars that contain the visceras of the embalmed deceased. Horus’s most important cult centers were at Edfu, where the God was venerated in the image of the winged disk, at Kom Ombo, where as Son of Ra he bore the name Haroeris, and at Heliopolis where he was regarded as the God of the Morning Sun under the name of Ra-Harakhty.
The ancient Egyptian statue Falcon-god Horus, the Falcon-god whose name is attested from at least as early as the beginning of the Dynastic Period (3100 BC). Although not actually named as such, it is probably the Horus-falcon who was depicted on the battlefield and the ceremonial palettes, apparently subjugating his enemies in the battles leading to the unification of Egypt as followers of Horus. Usually depicted as a hawk or as a man with the head of a hawk, Horus was not only a god of the sky but also the embodiment of divine kingship and protector of the reigning pharaoh. Gradually the cults of other hawk-gods merged with that of Horus, and a complex array of myths became associated with him. According to one of the most common myths, he was the child of the goddess Isis, and in this role (later known as Hippocrates) he was usually depicted inhuman form with the side lock of youth and a finger to his mouth, often being seated on his mothers lap.
THE FALCON GOD HORUS WAS SAID TO BE THE SKY, HE WAS CONSIDERED TO ALSO CONTAIN THE SUN AND MOON. T H I S MON T H F EATURES HORUS-TH E FA LCO N GOD T HE E YE OF HOR US I S AN A NCIENT EGYP TIA N S Y M B OL OF P R OT EC T I ON
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From the late period to the Roman period (747 BC � 395 AD) a new vehicle for the image of Horus, the cippus, became popular. This was a form of protective stele or amulet showing the naked child-god Horus standing on a crocodile and holding snakes, scorpions, lions or other animals in his outstretched arms. On such cippi Horus was also sometimes associated with other deities. The purpose of the cippus seems to have been to provide healing powers to combat such problems as snake bites or scorpion stings. As a son of Isis and Osiris, Horus was also worshipped under the name of Harsiese, the god who performed the rite of “Opening of the Mouth”, on his dead father, thus legitimizing his succession to the throne as earthly ruler. In a similar vein, as deceased coffin. The mythology of the Osirian Horus (rather than any of the other aspects of Horus) was princi-
HORUS WAS BORN TO THE GODDESS ISIS
pally concerned with his struggles to avenge the murder of his father Osiris and to claim his rightful inheritance, the throne of Egypt, by defeating the evil god Seth. The latest narratives of the myth tend to combine several different traditions. In the first version, Seth was Horus’s uncle, whereas in the second version of the myth of Horus even before the contending became linked with the Osiris myth. The Shabaquo Stone, a 25th Dynasty inscription purporting to be a copy of an Old Kingdom text, describes the story of the earth-god Geb judging between the two and eventually awarding the throne to Horus.
a distant memory of the struggles of the two lands before unification, although few prehistorians would now attempt to use such comparatively recent documents to interpret the late Predynastic archaeological material (3200 3100 BC). During his contendings with Seth, Horus is said to have lost his left eye (which represents the moon), although fortunately the goddess Hathor was able to restore it. The eye of Horus” therefore came to symbolize the general process of “making whole” and healing. It also represented the waxing and the waning of the moon, and served as a metaphor for protection, strength and perfection; eye amulets are extremely comHowever, a more lively version is mon. Since Horus was a sky-god provided by the Ramesside Papyrus and a cosmogonic deity, his eyes Chester Beatty I, which details the were interpreted as the sun and the varied sometimes ludicrous, rivalry moon, and he was frequently deof Horus and Seth, including a race scribed in the Old Kingdom (2686 in bouts of stone. In this version it 2181 BC) as the god of the east, is the sun-god RA who adjudicates and hence, of sunrise. In this guise, at the end of an eighty year conhe became known as Horemakhet test, although as usual it is Horus (Horus in the Horizon) and he was who finally becomes king of Egypt. also merged with RA, to become It is possible that these mythoRa-Horakhty. There were numerous logical contendings, an even later forms of Horus throughout Egypt, account of which is given by the but he is particularly associated Greek writer Plutarch, may reflect with Edfu, the site of the ancient
city of Mesen. There was a temple of Horus at Edfu from at least as early as the New Kingdom, and in the well preserved Ptolemaic temple, he was worshipped as a part of the triad with Hathor and their child Harsomtus. From at least as early as the 24th Dynasty Horus KhentyIrty was worshipped at Letopolis in the western Delta. Horus was also closely associated with Hierakonpolis (literally “town of Hawk”) which was known as Nekhen during the Pharaonic period. From the temple at this site was excavated the golden falcon head which probably formed part of a cult image. In his role as Horus of Behdet, a town in the Delta, he was also portrayed as a winged sundisc, an image that constantly recurred in the decoration of many other temples, harking back to his original manifestation as a god of the sky.
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Masters Spotlight
Robert Kelsey DA, MUniv, PAI, FRSA
Robert studied at Glasgow School of Art between 1966 and 1970. He studied Painting and Drawing under David Donaldson, Alexander Goudie, and James D Robertson. Graduating with a DA he taught Art & Design from 1971 to 1995 when he stopped teaching in order to paint full time. Since leaving Art School Robert has exhibited widely in all the major annual Art Exhibitions such as the RSA, RGI, RSW, and PAI.
Di Rollo Gallery, Edinburgh”. Private and Corporate collectors include: • His Grace The Duke of Bedford • Sir Arnold Clark • Lord MacFarlane
• Credit Lyonnaise • Enterprise Oil • Highland Spring Water • Turnberry Hotel and Golf Club
He has served on the councils of The Glasgow Art Club and The Paisley Art Institute and received a Diploma from the Paisley Art Institute. ( PAI) In 2010 Robert received an Honorary Degree of Master of the University of the West of Scotland . Robert says “As I have been exhibiting steadily since 1971, I have a long list of personal one man exhibitions, the most important galleries being Thompson’s Gallery London where I have had 15 consecutive one man shows since 1994, the John Martin Gallery London; Walker Gallery,Harrogate; Henshelwood Gallery, Newcastle; and
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The most direct influence on Robert’s work comes from the Scottish Colourists, and in particular Cadell , and Peploe.
More recently he has been looking at the work of English artist Edward Seago whose beautiful and evocative landscapes of 1950’s Norfolk coastlines and continental harbours have been having some influence on his own paintings.
plane I was immediately overcome by the beauty of the island, with the vast flat beaches, sparkling emerald water, and a huge sky.
’”I’’ve painted beaches and seascapes for more than 20 years, but gradually they have become more welcoming, warm and sunny. I often paint in tropical and Mediterranean locations as well as in the UK. When it comes to my Scottish paintings however, it is a lonely remote atmosphere that I am after, preferably with crystal clear turquoise water and stretches of soft sand. I search out quiet, deserted places, such as one can find in the Outer Hebrides and along the rugged north west coast of Scotland.
I also often visit Cornwall, where the light is quite different, while other familiar and interesting locations include Brittany, Sardinia and other parts of Europe, and the Caribbean”.
One of my most memorable experiences was a visit to the Isle of Barra a few years ago, where I have family connections. My father was born there in 1906. After landing on the cockle strand in the little Twin Otter
Robert Kelsey: www.rkelsey.com L a Ha usse | 35
TENNIS The Psychology Of Tennis T E N N I S I S POSSIBLY O NE OF TH E MO ST WATC HE D B U T L E AST PL AY ED SPORTS TO DAY
Understanding Tennis Psychology
If so, strive for it, but never give it to your op-
along definite lines of thought, and can be
ponent.
studied. One can only control oneâ&#x20AC;&#x2122;s, mental
Tennis psychology is nothing more than understanding the workings of your opponentâ&#x20AC;&#x2122;s
processes after carefully studying them. A Does it deprive you of concentration? If so,
steady phlegmatic baseline player is seldom a
mind, and gauging the effect of your own game
either remove the cause, or if that is not pos-
keen thinker. If he was he would not adhere to
on his mental viewpoint, and understanding
sible strive to ignore it.
the baseline.
the mental effects resulting from the various external causes on your own mind. You cannot
Once you have judged accurately your own
The physical appearance of a man is usually
be a successful psychologist of others without
reaction to conditions, study your opponents,
a pretty clear index to his type of mind. The
first understanding your own mental processes,
to decide their temperaments. Like tem-
stolid, easy-going man, who usually advocates
you must study the effect on yourself of the
peraments react similarly, and you may judge
the baseline game, does so because he hates
same happening under different circumstances.
men of your own type by yourself. Opposite
to stir up his torpid mind to think out a safe
You react differently in different moods and
temperaments you must seek to compare with
method of reaching the net. There is the other
under different conditions. You must realize the
people whose reactions you know.
type of baseline player, who prefers to remain
effect on your game of the resulting irritation,
A person who can control his own mental
on the back of the court while directing an
pleasure, confusion, or whatever form your
processes stands an excellent chance of reading
attack intended to break up your game. He is a
reaction takes. Does it increase your efficiency?
those of another, for the human mind works
very dangerous player, and a deep, keen think-
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ing antagonist. He achieves his results by mix-
the lines best suited to you.
First it amounts to TWO points in that it took one away from your opponent that should have
ing up his length and direction, and worrying When two men are, in the same class,
been his and gave you one you ought never to
psychologist. The first type of player mentioned
as regards stroke equipment, the determin-
have had. It also worries your opponent, as he
merely hits the ball with little idea of what he is
ing factor in any given match is the mental
feels he has thrown away a big chance.
doing, while the latter always has a definite plan
viewpoint. Luck, so-called, is often grasping the
and adheres to it. The hard-hitting, erratic, net-
psychological value of a break in the game, and
rushing player is a creature of impulse. There is
turning it to your own account.
you with the variety of his game. He is a good
no real system to his attack, no understanding of your game. He will make brilliant coups on
We hear a great deal about the “shots we
the spur of the moment, largely by instinct; but
have made.” Few realize the importance of the
there is no, mental power of consistent think-
“shots we have missed.” The science of missing
ing. It is an interesting, fascinating type.
shots is as important as that of making them, and at times a miss by an inch is of more value
The dangerous man is the player who mixes
than a, return that is killed by your opponent.
his style from back to fore court at the direction of an ever-alert mind. This is the man to study
Let me explain. A player drives you far out
and learn from. He is a player with a definite
of court with an angle-shot. You run hard to it,
purpose. A player who has an answer to every
and reaching, drive it hard and fast down the
query you propound him in your game. He
side-line, missing it by an inch. Your opponent
is the most subtle antagonist in the world. He
is surprised and shaken, realizing that your
is of the school of Brookes. Second only to
shot might as well have gone in as out. He will
interesting, but easily understandable. Both
him is the man of dogged determination that
expect you to try it again, and will not take the
men start with equal chances. Once one man
sets his mind on one plan and adheres to it,
risk next time. He will try to play the ball, and
establishes a real lead, his confidence goes up,
bitterly, fiercely fighting to the end, with never
may fall into error. You have thus taken some of
while his opponent worries, and his mental
a thought of change. He is the man whose
your opponent’s confidence, and increased his
viewpoint becomes poor. The sole object of
psychology is easy to understand, but whose
chance of error, all by a miss.
the first man is to hold his lead, thus holding his confidence. If the second player pulls even
mental viewpoint is hard to upset, for he never allows himself to think of anything except the
The psychology of a tennis match is very
If you had merely popped back that return,
or draws ahead, the inevitable reaction occurs
business at hand. This man is your Johnston
and it had been killed, your opponent would
with even a greater contrast in psychology.
or your Wilding. I respect the mental capacity
have felt increasingly confident of your inability
There is the natural confidence of the leader
of Brookes more, but I admire the tenacity of
to get the ball out of his reach, while you would
now with the second man as well as that great
purpose of Johnston.
merely have been winded without result.
stimulus of having turned seeming defeat into probable victory. The reverse in the case of the
Pick out your type from your own mental processes, and then work out your game along
Let us suppose you made the shot down the sideline. It was a seemingly impossible get.
first player is apt to hopelessly destroy his game, and collapse follows.
l a ha usse | 37
needs you
La Hausse â&#x20AC;&#x153;
Being altruistic, wanting to improve or promote the well-being or situation of others without taking payment is generally considered to be volunteering. Often itâ&#x20AC;&#x2122;s considered a selfless thing to do, to add value or standing in a community. It must, however, also be remembered that by volunteering you are adding to your own skill set (essential for the CV and job search), having the chance to make contacts with other people and having fun.
WE NEED YOU! Have you ever thought that you would like to be part of something special, part of the start of a venture that is exciting, vibrant and in many ways different? Have you some skills that you could offer? Are you good with words and good at expressing yourself and your ideas? Can you listen? If so then we want to hear from you. This is your chance to be part of this publication and have your own section each edition. If you think this is you then send details to: editor@lahausse.co.uk
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La Hausse
Add more colours to your lifeâ&#x20AC;&#x2122;s pallette
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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
Wonderful! I love it! Frann I will tell all my friends about your excellent magazine. Will you be starting a section on tips for the budding artist? Amy Young Will you ever have a section on tips for the budding artist? Jane Peterson We hope to start such a section in the future.
Be proud of your choices and that you ultimately choose what will best reflect the style of your magazine and thrill your readers.
It must be very hard producing a magazine of such good quality all by yourself. Mistakes happen but this is all part of the enjoyment. Keep it up. Dan Thomas
The Mag gets better and better. I am looking forward to the next edition especially seeing the work of unknown artists Well done. Bo
La Hausse website
You are taking on board a style for your magazine that reflects a certain ‘lifestyle’ ‘quality’ and person who will find Our website is now available it of interest...if that means the watercolour flowers with and will be built on over the the cat that looked like a moose disnae get in your mag.. coming months. then so be it! Ann Tocoda
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PAOLO AVIGO I began to draw as a self-taught artist in the early Eighties. The first drawings were created with the technique of China Ink and their themes were symbolic representations suggested mostly by the literary works of great writers and poets such as Gabriel Garcia Marquez, John Donne, William Blake etc. During these years I travelled throughout Europe and I had the opportunity to admire and study on the spot the works of many important masters such as the Impressionists in Paris, Paul Klee in Germany and Gustav Klimt in Austria.
In 2010 I have been among the 3000 participants of the third edition of Terna Price, with the digital photography â&#x20AC;&#x153;Rhythms of Lightâ&#x20AC;?. Paolo Avigo www.paoloavigo.com
L a Ha usse | 41
NAJDA ART
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Â
Two dogs called Love and Hate
Stephen Najda Stephen Najda is an enigma in the art world. A physicist by training, a restless explorer by desire and, also a brilliant artist. Najda brings huge imagination, a unique style and masterly technique into his painting, exploring the boundary between imagination and consciousness of the human condition through ‘abstraction of thought’– ‘I like going into the unknown and painting what I don’t know’. This is a voyage of discovery, creating powerful images with an extremely individualistic and distinct artistic identity. Najda’s art spans the complete spectrum of human emotion, from classical representation to abstraction, using a juxtaposition of vivid colour, tone, shape, form and brush stroke to create a powerful narrative of paradox; abstraction and reality, edgy and sensitive, violent and melancholic, physically intense and aesthetically removed. These theoretical concepts are brought into focus to create a unique visual experience. The ambiguity of the complex pluWoman with child, man with skull and the rality is at the essence of Najda’s tumble weed of life in the middle work. Many of the paintings at first appear impenetrable, but it is their ambiguity that gives them their power, at the edge of the unknown mirroring the condition of human consciousness and unconsciousness. This is a fundamental virtue in these works, simple, but deeply profound. A narrative lies beneath the layers of
paint. Art is by definition ambiguous, science is not.
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The Adoration of the Sprit
Â
Stephen Najda L a Ha usse | 45
R
obert Llewellyn (born 10 March 1956 in Northampton, England) is an English actor, presenter, and writer. He is best known for his roles as presenter of Scrapheap Challenge, and as the android Kryten in the hit sitcom Red Dwarf.
• • • •
Robert has presented a number of programmes for UK television. His first outing as presenter was on Scrapheap Challenge produced by Channel 4; the series sees teams of engineers competing to build machines to complete a given task from materials scavenged from a scrapheap.
Recently Robert was gracious enough to grant us an interview and here are a selection of his comments which will give an insight into Llewellyn’s World:
His other presenting roles include a version of Discovery Channel’s How Do They Do It? and Hollywood Science, the latter of which is a joint production between the BBC and the Open University. Robert launched an online show entitled Carpool some time ago in which he interviews well known people and celebrities whilst taxiing them to their destination. It became so popular that Dave commissioned the show to be made for mainstream TV and Robert is currently working on the second series.
The Man On Platform 5 (1998); Punchbag (1999); Sudden Wealth (2000); Brother Nature (2001).
Do you find it easy to tell someone you love them? Yes, and I do it often. What do you bring most to a friendship? Laughter and insight. Hopefully. What is your favourite sound? A thrush in the evening and babies gurgles. What is something funny or amusing that has happened to you? Standing near Craig Charles. Just that, he makes me laugh. How much do you use your imagination? Pretty much all the time.
What subject(s) did you most enjoy at school? As well as appearing in many Films and TV shows in cameo Art and History. roles Robert is also the author of nine books, including Sold Out! and Therapy And How To Avoid It with Nigel Planer and four novels:
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Are you a pacifist or quick tempered, I’m a quick tempered pacifist. I get shouty but I’ve never hit or physically hurt anyone. I’ve been told I can be very
cruel so I’m no angel. I have had a couple of fights with dogs – I suppose that’s not very pacifist, but they did start it! I love dogs but if they try and frighten me I get very angry. I have scars from dog fights but I always win.
Do you prefer a stormy night with cuddling or a romantic dinner at a nice restaurant with ambiance? Stormy night with cuddling sounds pretty damn fine to me.
Do you cook? Yes, I cook pretty much every day.
How do you feel about euthanasia? In specific circumstances I think it’s fine. I don’t think I could do it personally but I understand why people want to.
Are you a dreamer? Yes, big time.
What was your favourite toy as a child? What is a song or album that you’ve listened to over My Mecanno set. and over again in a rough period of your life? Kooks by David Bowie There are many landmarks in the world to climb. Have you ever climbed one and if yes which one(s)? How do you cheer yourself up when you’re feeling Snowdon. Ben Nevis. Scafell Pike. down? I wait patiently for the misery to pass. So far it always The world is going to finish in 1 hour. How are you has. going to spend that hour? Laughing at the absurdity of all our worries. Do you bear a grudge? I try not to and I’m getting better at it as I get older. What’s your favourite time of day and what do you usually do during it? Are you emotional? Very early summer morning, walking the dog and Very, sometimes a little too emotional so I’ve been told. thinking through stuff, then stopping, breathing deeply and trying not to think about anything. What gets you excited about life? Feeling warm sun, listening to my children If you had to verbalise a slogan for your life – something you live by like a principle – what would it be? What do you love about where you live? ‘To live outside the Law, you must be honest.’ Bob Dylan. It’s mostly very quiet and I can hear birdsongs. I like to interpret it as not meaning breaking criminal Law, but possibly living outside the normal strictures What are your thoughts on organic food? and mores or western civilization. If you live slightly Nice idea in a garden. I grow organic veg, as a form of outside accepted zones of behavior, you need to be honbig agriculture I think we have to be open minded. We est, primarily to yourself. Being self aware of your own have to grow lots of food. ludicrous nature is a very healthy step toward true maturity. If you were given the chance to experience what it is like to be deaf for a day, would you take it? Yes, very much so. (I) did try being blind for a morning What would you ROBERT LLEWELLYN when working with a disabled theatre company. It’s re- want written He was ally tough. on your amusing, tombstone? interesting and What’s the nicest thing that anyone has ever said to occasionally you? annoying, but not ‘Hello darling, you’re looking very tasty today’. (From a bad bloke. my wife, but about 10 years ago. Ahhh memories!).
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CHILDRENS STORIES - An Unrecognised Art
PUGH PUGH B Before we start let’s put to rest once and for all the confusion over the names of the Firemen in Trumpton - they were indeed Pugh (NOT Hugh), Pugh, Barney McGrew, Cuthbert Dibble and Grub. According to the Times the top five childrens television programs of all time were: • • • • •
Grange Hill Magic Roundabout The Clangers Bagpuss Tiswas
CHARACTERS IN CHILDRENS STORIES HAVE TO BE LOVEABLE AND BELIEVABLE
Now obviously such a list can be challenged as we all have our favourite and memorable programmes from our childhood and, as the old saying goes, you can prove anything with figures. But that is not to say that the above programmes were not milestones in the development of an un-recognised art form that deserves recognition and applause. To capture the attention of
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Children’s television has never been considered as an art form, but should it be better recognised?. W E WER E ALL C HI LDREN O NCE FA SCINATED B Y TAL E S OF M Y S T E RY, A DV E N TURE AN D EXCITEMENT. TV PLAYED A N I M PORTAN T PART
BARNEY MCGREW CUTHBERT DIBBLE AND GRUB children and take them on a wonderful journey is not an easy thing to do, and those people that manage to do this are truly gifted. There are many wonderful children’s books of stories and fairy tales that vhave stood the test of time, and there are also many children’s television programmes that have come and gone without recognition. So, what then makes a programme a success? What does it need to enthrall children? If these questions could be answered then developing successful children’s television programmes would be easy. Unfortunately this is not the case. It is also not the case that once a programme has become accepted by children and become popular, making similar programmes will also be a success. There is no magic formula.
Consider these wonderful programmes: • • • • • • • • • • • • •
Camberwick Green Mr Benn Dangermouse Magpie Blue Peter Banana Splits Tom & Jerry Noggin The Nog The Flowerpot Men Andy Pandy Trumpton The Wombles Dr. Who
The list goes on and on - but do they have something in common that made then such ‘hits’? I don’t think so. The one thing they do have in common though is that they were all popular with children, some still going strong today. There is an argument that modern children’s programmes have ‘lost the plot’, become too PC and made more for the satisfaction of adults rather than children
and when you look as some modern cartoons and adventure stories they have indeed become ‘sanitarised’. This I think says more about our society today and in a way it is a shame that we have lost the ‘cut and thrust’ of Tom & Jerry, the ‘slapstick’ comedy of Laurel & Hardy and the outright ‘fright’ of some of the old Fairy Tales. Still, we have our memories, and if our children have the same and do not just dismiss their ‘TV Art’ then perhaps it is not for me to judge - but I still prefer the following to some of the rubbish served up to our children today: • • • • • • •
TISWAS Multi Coloured Swap Shop The Muppets Crackerjack Top Cat Bugs Bunny (et al) Roadrunner
Am I just showing my age?
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