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There is something about the creative process as I experience it, a process of collecting and bringing together which starts out quite chaotic and then clarifies as gradually distinctions and clarifications appear.   So it is with water gilding: I realise one of my problems is the the distinction between the area to be gilded and the area where I do not want the glue to spread needs a physical boundary, a tiny trough in the surface.

I have also just read Bee Wilson’s fantastic book “How we learn to Eat”.  Which essentially is about how our consumerist food culture has no boundaries apart from those associated with making money.  So we are bombarded with messages to consume for the sake of consumption.  The health messages  are up against a wall of messages selling us stuff.   And that the family challenge is to create boundaries based on health at home  within that unruly non domestic culture. And that what we need to be creating at home in response, rather than being scary and rigid or puritanical and off putting or guilt inducing needs to include the notion of pleasure at the very heart.

This book which is well indexed  lead me to research more about a Finish approach to sensory food education for Nursery children,  which also has implications for looking after the elderly.  It looks at an approach to food education that encourages the use of all senses by using art, play and culinary approaches, and a concentration on basic natural produce using creative processes to explore and create positive experiences of food produce and cooking and a base line of experience of a wide range of fresh produce.  Anyone involved in child or elderly care might be interested by this:

 

http://sapere-asso.fr/finlande/

The site is in Finish bit don’t be put off there is an option at the top of the page for English Language.

W London Story No 4

And West London Story Number 4 is about the pleasure of rule-breaking in childhood with a complicit Mum!

This story teller told me of how strict her father was, in particular in relationship to school attendance, but how sometimes without his knowledge her mother would indulge her with a day off school…

“My story is about a childhood memory which is about when we were let off from school which was not a lot, um, my Mum would go to the….my Mum would go to the local butchers and buy some pies, like um Cornish pasties, particular pies, we’d have these for lunch.

Yeah, Cornish Pasties (laughing) yeah. I loved the way they looked, you know the way they were glazed with the egg, yeah…”

So these little food memories, these small pleasures that make up our basic selves…

The process of dementia can be seen as an unravelling of all the understandings we have built up over a life time.  I have not written much about Padma recently, her stories are disappearing, her ability to frame her world is falling apart, and her ability to manage daily basic needs are collapsing, a source of anxiety and anger for her and grief for those of us caring for her.

The Phoenix Cinema in East Finchley has started some dementia friendly screenings, they have chosen some films with great care, they are light on plot, heavy on music, the sound is low and the lights are up. There is a break in the middle for some “Singing for the brain”.  Last week we went and the cinema itself seemed to delight her, the routine of popcorn, and the seats and the setting, she felt like she had been there before.  It touched something that gave her a reason to speak and to be contented.  And above all it demanded nothing of her we will be back.  Use the link below to find out more.

https://www.phoenixcinema.co.uk

And this week I caught, just in time the show “Nature’s Bounty” at Kew which ends at the end of this month, looking at botanical drawings.

 

http://www.kew.org/visit-kew-gardens/whats-on

You walk though the modern galleries, with these simple colourful beautiful images, floating in the space of their pages, iconic and defining as they were, each in its own space, curated for a sense of calm and beauty and connectedness between the present and the past: between using drawing to clarify and define, and celebrate, and often explore the new. And then you go up the stairs to the chaos of the old gallery with image after image climbing up the walls and it is shocking to the point of being unbearable, like a travel agent run by a hyperactive toddler…. overwhelming.  And then it seems clear to me that without memory, or ways to understand things, to clarify and bring things together, where your senses no longer make sense, perhaps this is what it is like.

 


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Since the last post there has been half term, and that combined with pouring boiling water from the kettle onto my hand while cooking has meant this has been a week of very little art production.  I’ve been doing a bit of reading, see list at the end of this piece if you’d like to follow suit.

 

I have recently come across these granadilla in markets all over London, externally very pretty, they open up to be like passion fruit but with bigger grey seeds and a slightly milder, sweeter, less tangy taste than the more familiar varieties of passion fruit. They seem to be a newish South American import.  So for a new fresh view, last week we had a look at how food and guilt have been long expressed in art: This week I want to look at the history of food and pleasure, and later food as treasure, none of these ideas are new.

 

So thinking about the exotic and new: Just as a reminder of the symbolic role of the apple in Sri Lanka, a luxury and rare product in the early twentieth century, I would like to share a recent story from Padma.  Picking up an apple from the fruit bowl she said

 

 

“Oh, this apple is delicious.  Do you remember my sister, my younger sister,  she was beautiful, and she was clever, you know she’s not alive any more…When we were children she would bribe me, she would get me to do things and promise  an apple, so I’d do her jobs for her, and then she’d just show me a picture of an apple on the calendar!!!”

 

So for all my interest in art and food it has to be remembered that the symbol is never a replacement or the real thing.  In addition the real thing can have a symbolism of its own, it’s enjoyment can prompt access to memories that are hard to retrieve otherwise.

 

In contrast to the last blog which concerned food as symbol in the Early Renaissance and late medieval period it is also possible to find examples from that period of food as nurture and health giver, so the work of monks and nuns collecting and copying herbalist texts, and the work of the Nuns with Hildegaard of Bremen, in describing both horticultural practice and the heath giving nature of plants as food  as a spiritual gift from God (Causae et Curae) are in direct contrast to the ideas of food simply as an expression of desire and a symbol of sin which underpinned the art for public consumption I looked at at the National, which were about the subjugation of the physical in pursuit of the spiritual.

 

And to think about some questions:

 

Are the contradictory attitudes to food expressed in different art forms of the late medieval early Renaissance period an expression of anxiety at social change, and is that the same for us?  Is it that living in politico-economically changing times where power structures fall and rise that social anxiety is expressed through anxiety about the very sustenance of life?  Or is it that at the basis of our relationship with food there has always been contrary pressures, and that what is different now is the abundant availability of imports and “new” technically developed foods and really big business with massive advertising budgets and a weakening state?

 

I think the complexity of Western attitudes to food are long term.  In the late medieval period  people moved away from the feudal structures of the rural environment and trade became central to material survival.  There was a growth in the guilds, becoming a baker , or cook, or market stall holder provisioning the city was a source of income new migrants to the city and in particular for the first time lower class women, independently of husbands,  could make their own livelihoods.  This is the point when lower class women became able to own property and business rather than solely being regarded as property themselves.

 

I also think that current socio-political and technological changes are relevant:  Why as reported recently in the Guardian in its review of the British Birth Cohort Studies  does it become apparent that the current rise in obesity in the UK started in the 1980s?  In contemporary culture, especially as expressed in a city like London, this is also a period of flux and change.  There is the increased power of Transnational Corporations, the changing and weakening role of government, in particular the expression of these in the context of global economic crises, massive advertising budgets cthat can be contrasted  with the increased democratisation of communication though the internet,  added to which a marked rise in consumerist culture.

 

This is at the same time as a shift towards increasing women in the workplace, contrasted with the  pressure on those women to conform to unachievable ideals, and without a sufficient corresponding shift towards shared domestic duties across gender.  Also it is  a period of increased difference in the wealth from  the top to the  bottom of society.  We are in a period where we are struggling to understanding our ideas of a social contract which underpinned the health gains of the period between 1945 and the 1980s where the extreme excesses of income differential were compensated for by the welfare state.  The cohort studies have been a  useful source of information that has lead to progressive changes in maternity care and other areas. Let’s hope they become a source for change in food relationships based on concrete research.

 

In the middle ages the plague and the freeing up of people from bonded labour led to increase trading and population drift towards cities like London: This move to urban centres and the building up of trades, selling of produce or the early processing of produce to make them easier to keep and sell is the start of the city as market and reflects the move to a money economy .  The plague really was the beginning  of the end for bartering, it was from this time that peasants were paid rather than indentured, but this transfer to monetary wealth caused the old powers great anxiety. During feudalism food produce was either grown directly by the powerful or collected as taxes from their indentured peasants.  At the top of the feudal heap was the King, then came the Lords and Monasteries  The feudal lord/monastery taking most of the produce in exchange for the land and ‘protection ‘provided.  So the late medieval early Renaissance saw a break down in the social order as it was understood at that time.

 

In reaction what people from any class could consume was strictly and directly controlled through the Sumptuary Laws which covered not only clothing but also food.  The greatest part of everyone’s income was spent on food and it was an important symbol of wealth. On the part of the Royals, the sumptuary laws were brought in to control conspicuous consumption by lower class people and to shore up the powerful classes, and as a sort of protectionism, to discourage the importation of cloth from Europe and increase the use of wool from the UK, and the consumption of fish rather than meat.  In addition they had a public order aspect where clothing was an official indicator of class and gatherings of groups of peasants could then be easily recognised for their potential threat. Food preparation and selling businesses were incredibly materially important.  And in response to periodic shortages and the expansion of the known world food importation grew.  The feudal system gave way to money,  money  and trade was controlled through guilds some of which are still important in the city of London.

 

And in contemporary London the growth of Farmers Markets allows access for the more wealthy to fresh produce.    Traditional street markets which serve the less well off are in places being revived and others under threat from the privatisation of the land they have been on for centuries.

 

An appreciation of the sensory can be found still within the ranks of work by Monks and Nuns during the medieval period, including work by the Nuns led by Hildegaard of Bremen(*1 & *2) show that food was also understood in relation to health and religiously as a gift from God to be enjoyed.

 

These Herbalist texts are contained in books rather than alter pieces, and interestingly would have been largely exclusively in the hands of the educated religious elites who were the literati, and in fact though more religious also more likely to have access to excess:  In the Feudal period taxes of produce would have been paid to the monasteries and convents. And in a sense it could be argued that the convents and monasteries were often centres of consumption, certainly the allowances for eating and drinking for monks and nuns may give some truth to stereotyped fat monks like friar Tuck. They are beautiful works, and there were herbal manuals that were beautifully illuminated and illustrated.  They also link food with pleasure and mental and physical well being. (G Riley*1)  So do these books have a relationship to the many and various cook books that sit on out shelves?

 

However at the time of the witch hunts the knowledge contained within could get you accused of witchcraft.  The witch hunts were a hysterical reactionary force which had their roots in puritanism, magical thinking and anxiety at social change.  As is often the case the socially less powerful were held to blame for societies ills, and so unmarried women, travelling medicine people, and people otherwise marginalised by society were far more likely to be accused.

 

The shift of people and power to urban rather than rural settings created an environment, much like our own of flux and change, of power shifting from the hands of one elite into the hands of another, and of counter cultural manifestations which looked back at an idealised past.  That sounds very familiar, and in addition the increased literacy of the urban trading classes has its parallels in the increased democratisation of communications in the current age of twitter, blogs and e communications.

 

 

It is not surprising that food had strong emotional connections both positive and negative when very high proportions of incomes  of the both rich and poor were spent on food so it was even more powerful as a symbol of wealth and power.  And women who were less powerful had less food security in society, where they were expected to eat last in the family, were unable to secure land, and if nuns were more likely to fast (Law), was giving way to women able to feed themselves.   In the same way the shift in social structures that allowed women to own property rather than be regarded as property have their parallels in increased participation in the paid work force by women in the 20th and early 21st centuries, and just as then there is a backlash surrounding that change.

 

But the greatest threat to your ability to survive was, as it still is, poverty.

 

Food as a marker of status was well established.

 

Material consumption was clearly controlled, more controlled than it is today where in places like London excess provision is more the norm ( Bee Wilson). So can we link the idealisation of a non physical spirituality, the antagonistic duality of the human as expressed in Thomism and later Puritanism, can this be compared with some of the more extreme versions of diets? The kind of purist diets which are not successful as a means to achieving health,  as they don’t lead to the development of healthy moderate eating habits, but are more related to a disordered relationship with sensuality?  And that idea of extreme control of the physical which appears to underpinning of anorexia?

 

So while there is a long western history of anti-sensuality including food and linked to sex, there is also a long history of food as health giver and linked to the pleasures of life in a good way and the struggle between the two has a long history of duality in our culture.

 

The conflict between food as a basis for health and pleasure, and food as a source of guilt persists in contemporary London food culture within the frame work  of overall excessive consumption, waste and uneven availability of fresh produce which actually threaten health.  In addition there is interference of the most powerful forces the promotions of the large corporations of foods which have been developed with the subsidy of the state (US space and military food technology sold on in products to the public)  countered by promotions of food concerned with naturalness or  the ability to trace the food to its producer.     Both sides of this argument fall into two camps: Using guilt and sensuality within the context of “naughtiness” or “sinfulness” and puritanical arguments for health and goodness.  Sometimes sinfulness is poised as environmental degradation, sometimes the promotion of fresh food is posed as oppressive to women, an alternative “sin”.

 

So that while we may feel like we live in a modern largely secular society, we are still dominated by ideas about sensuality which link food with sex sin and naughtiness, illustrated by hashtags like foodporn.  This does not help us to develop a healthy relationship with food

 

Desire has always had its complexities, there have always been forces trying to influence and distort desire because it is powerful and at the basis of human nature.  In a society which is increasingly consumerist it is not that surprising that more people are consuming more.  It is in the interest of business that that is so.

If you are interested in reading more around the subject, or more lazily feel like watching a bit of TV here are some useful books and TV programmes, many of which are available online.

 

1. Gillian Riley, Food in Art 2015

2. Whitney Chadwick, Women Art and Society (1980s edition)

3. TV: “Cooked”, Netflix

4. TV “Food Unwrapped” Channel 4

5. TV ” Huw’s War on Waste” BBC

6. Jay Raynor “A Greedy Man in A Hungry World”

7.Jennifer Lawler, Encyclopaedia of Women in the Middle Ages,

8 Bee Wilson “First Bite: How we learn to Eat”

9 Features on UK Cohort Studies Guardian, Saturday/Observer Sunday 27/28 Feb 16

 


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So the start of the new year is both a time for trying new things and looking back, so this week I have had a try for the first time at water gilding, which has been a challenge, and even though I made an attempt at limiting the areas with potential for mistakes by buying some ready made bits the challenge was big and the mistakes were many…. I chose some lovely figs in the mistaken impression that I might end up with a finished piece.

 

I applied the first layer of bol, completing the first layer of bol I wondered about the consistency I had used, as I have not been able to find definitive ratios for the mix.  Completing the second layer I was a bit concerned about how uneven it was, by the third and fourth layers it was decidedly lumpy.  My bol and glue mix…is the problem here or the brush or the person weilding them???  Waiting for the bol to dry, then burnshing the bol with a jade burnisher, it is possible to see the shiny burnished areas, but perhaps I should have atmpted to get a flatter finish in the first place: shiny=burnished, but alot more work and pressure may have avoided later problems. The gold leaf was applied in very small pieces as suggested every where I looked.  Brushing it down, all the areas where the gold had not stuck to the clay and where it suck where I did not want it are revealed, hmmmm, so getting control of the very runny liquid might need some little drains in the form of grooves in the surface….so I revisited and applied a different colour leaf so that the patching up would be revealed in the end.  The process of burnishing revealed new areas that were not fully stuck and where the patching had occured leakage of the liquid into other areas made for areas that would not come up shiny as they were water marked.

So I made a second attempt on a clay board, first applying leaf directly to the clay board, using the water/glue/vodka mix, the less absorbent nature of the surface mean that areas that actually took were  unpredictable however the finish once burnished was lovely and flat and mirror like.  I also experimented with using a thicker bol mix.

But watch out for those dangerous bumps and lumps

So that is the new thing I am trying to learn, and the review is the look back at the markets I visited last year and some thoughts about them: they can be seen at the artfromlondonmarkets.blogspot.com

 


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WEDNESDAY, 6 JANUARY 2016
Going to Walthamstow on the first sunday after New Year in the pouring rain was a mistake.

So at the start of this New Year I am thinking about risk, mistakes, learning and new beginnings. Tommorow I am stuck at home so it is a good day for trying something new, time consumimng and time sensitive, which requires the use of a cooker.

New Year, new technique: I am finally going to have a go at water gilding: my glue is soaking to be cooked up in a bain marie tomorrow, strained and then mixed with the bol, I have a pre blended bol to make life easier for me as a beginner. The bol will be applied to the area I want to gild on a gesso board. I also have a pregessoed board. Let the errors begin.

And here’s the thing, I have taken away some of the potential mistakes to make the areas for mistakes more limited and therefore more examinable.

My New Year Resolution involves a new note book, always a happy moment. I have been using this blog as a sketch book, dotting down all potential ideas, and then…..sometimes not noting them, when I feel they are too ill thought through, and I realised at the start of this year that I need to be a bit more organised in keeping those less well made plans documented. I have had a whole field of scraps of paper and various notebooks full of everything (including domestic stuff and things related to other work).

Then yesterday as I had a big chat with my youngest daughter about the need to become more orgainsed now she is at secondary school I realised that I could do with following my own advice a long time out of the other side of secondary school. So the notebook: a place to record the semi formed ideas, too ill formed even to make it onto here (and some pretty raw ones do make their way onto here).

My practice tends to take the form of occasional storms of ideas and inspiration, that need settling, researching and developing or rejecting and sometimes just need a little space and time to mature before I return to them, then an untangling where a direction that is worth pursuing emerges; then the following of that direction, with a few falters, turns and diversions, often taking me to a quite unexpected destination. Sometimes directions I have not pursued are worth revisiting, and sometimes sharing a potential idea too early almost feels like a jinx, or makes me feel too worried about it not working out. But ideas and atempts that do not work out are actually the most valuable ones in order to make the journey.

ideas forming
not yet informed
or readable
by anyone else
f
a
l
li
n
g

and
failing and
muddled and
unpracticed
needing a little
quiet space alone

(And if you are thinking Walthamstow is a strange place to be inspired into poetry check out @michaelshann1 ‘s new book. Even the shop names are poetry here in the right hands.)

So my NY resolution is to get a single ideas book to record these ideas early on, and to do a bit of filtering before they get shared with you, and most importantly keep them in a single place. There are times when scrapes and accidents need a bit of polite privacy before they get any publicity .

So the documentation of this project which currently includes pieces of paper, notebooks that contain alot of other things too, note book that includes details of story collecting plus other stuff, paintings, drawings, prints this blog and the website and a folder of bits. It will be refined down to:

1. Ideas book
2.Market notes note book including shopping lists
3. Story collecting note book
4. Sketch book and loose sheets of paper for drawing
5. Blog
6. Website
7. Painting prints
8. Products (exhibitions/publications etc)

The note books will be dedicated to art work only and inevitably I will have another note book which is a general life one. My partner will proabably just see this all as an excuse for some January sale stationary purchases, and will wonder why I can’t do it all on a smart phone like him. (Remember the lost stories…..)

The shop
Rainy Sunday at the start of the year, our second attempt to visit Walthamstow Farmers market was met with just a little more success than last time, when there were no stalls at all. This time there were 5. The guy on the main veg stall that was there said that most people didn’t turn up because it was just after Christmas. But then you have to ask yourself the question, why advertise it as open. It is quite a treck for us, difficult to park as most of the streets are parking restricted, we had checked on line and the markets own website advertised it was on, so it was very dissappointing. We bought some “biodynamic” betroot and leeks (£4.20), though I am going to have to find out what that means, a new one on me, (according to google it has something to do with Rudolf Steiner) honey from a local supplier(£7), half a leg of lamb (£12) from the stall selling pricey meat and the following from the informative veg man: kale purple and green, rosemary bunch, mixed colour small carrots, 4 bunch days and tulips, purple sprouts, large celeriac, large asian pumpkin, oak leaf lettuce, spring onions bunch, 12 shallots, new potatoes 1 lb (£25) total:£48

A lot of money spent in a short time and no time to set up contacts for story collecting.


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