Class in the classroom

I was struck by the media's statement-of the-bleedingly obvious last week, about well-to-do and not-so-bright kids overtaking their more gifted peers from less affluent backgrounds.
When I was 8 or 9 years old, my class -like all others in Scottish primary schools at that time - had its fair share of 'wee nyaffs' as my soundly middle-class parents would call them. They'd have a more politically correct title now, but these were kids who lived 'up the back' (i.e in the housing estates at the back of Largs), often in single parent families, and with some quite serious behavior problems. With hindsight I now worry much more about the origins of their problems than I - or perhaps anyone at that time - did: There were a few very small boys who spent any free moment drawing and circulating obscene and anatomically accurate sexual drawings, for example. Much later, these young mens names would appear in the local paper linked to a small-town world of drugs and theft.

Anyhow, I remembered last week about a particular poetry recital competition I had entered for whilst at primary school. I am born on the same day as Scotland's national poet Robert Burns, and as a child had dreamt up a quasi-mystical relationship with the bard due to this concidence. (Virginia Woolf is also born on January 25th, but is/was not quite such an appealing icon)
Many of my fellow pupils competed in the memorising of tracts of Burns' poetry, which were to be performed in front of a stern and vaguely Dickensian panel of Scottish 'elocution teachers' as they were then known. It was a fraught and very competitive environment, given that few children of that age could memorise their full names and addresses let alone 8 verses of weird-sounding Scots poetry.

The school was to offer one star pupil forward to the next regional level of recitals, and as we were efficiently knocked out, a surprise contendor, I'll call him Ian McCabe, emerged. A tiny, under-nourished looking kid with a mum off the rails, he took the classroom floor aback with his energetic recital. Now, I can see Kenny could have grown up to be a Robert Carlyle-like actor, wiry, full of barely-surpressed anger.

As a child I had a prodigious memory (as evidenced by my Higher Maths qualification - didnt understand a single figure but could memorise and repeat all the neccessary data to pass with flying colours). I made it through to a final stand-off with Ian, where we both recited the same poem to the selection panel.
I don't remember the final event, or anything about how the decision was made, but I won the contest against Ian. And I am still haunted by the injustice of that decision, because even then I knew it was a done-deal before either of us stepped up to the podium - I felt it then, nearly thirty years ago, as I do now.

One flavour: Cornish

I was brought up on the West Coast of Scotland, where we know a thing or two about ice-cream. An adopted dynasty of Italians, the Nardinis, had (and I believe still have) the monopoly on the ice-cream outlets of my hometown Largs, and as a people we were so keen on our ice-cream that we were as likely to be seen with a ’99-er’ cone (what has a half chocolate flake got to do with the number 99?!) in a January hailstorm as in the July sunshine.
Cornish ice-cream seemed to me – at that time – something that Mum bought as a cheap ‘standby’, and economical alternative to a (gasp) whole family-size carton of Nardinis, which was a massive, and rare, treat. The Cornish ice-cream was invariably bright yellow, very soft, and tasted like margarine. It came from the supermarket and in one flavour – Cornish – only.

My first trip to Cornwall recently has - you'll be glad to read - expanded my appreciation of the place many times over.
At first I couldn’t quite get over the fact that Penwith sounds like just a comic mispronunciation of Penrith. Of course Cornwall’s bizarre place names are part of its charm, as all the Nibthwaites, Crosthwaites, Slappersgates and Backbarrows are in the Lake District.

I travelled to this far-flung county at the kind invitation of the Newlyn Art Gallery to do a bit of R & D...
Cumbria and Cornwall: From afar they seem broadly comparable – tourist-dependent economy, a far distance from the UK’s main cities, a conservation and heritage-minded public profile, dying industries (farming and fishing). Both counties have their diehard supporters in rose-tinted spectacles (is there a Friends of Cornwall?)...

However, in Cornwall I was struck by how a surprising number of dynamic, ‘can do’ people we met had jettisoned any reliance on the public funders or officially sanctioned ways of doing things; or had found imaginative ways to get round legislation or rules: One guy – a fish merchant whose pilchard-salting factory was had up by EU health and safety police – had turned it into a ‘living museum’ and this apparently meant that his product wasn’t bound by the same red tape. He continued his line of business until the bottom fell out of the Italian pilchard market (I’m not kidding – it did, didn’t you hear?) and now the museum was being converted into flats as he plans to go off fishing with his mate Rick Stein.
Another retired civil servant was restoring a lugger (a traditional kind of local fishing boat) to working order so that it could actually be used as a viable fishing vessel, not a museum piece.

Everywhere we went people - whether they were fishermen or business entrepreneurs - lamented the crippling rules of politicians and the EU. Most got on with it anyway and sadly I think this little shred of fight is what generally marked them out from the Cumbrians I tend to meet. One exception here is Carol, an incomer who fairly recently took on a nearby holiday let / tearoom business. She runs the excellent tearoom on an honesty / ‘pay what you think is right’ donation system, even corralling visitors into digging her garden in return for tea. Naturally this goes down with the various authorities like a lead balloon. I hope they’re not, but I fear the days of her business are numbered.

Anyway back to Cornwall:
The Newlyn gallery staff were a tad – and rightly - preoccupied by an eruption of discontent amongst their membership: the gallery is still has a membership with a say, a precarious situation for any progressive contemporary art organisation operating in the vigorous demimonde of en plein air painting that is Cornwall. During our visit, wherever we went people voiced ill-informed and at times downright bigoted opinions about what was going on at the gallery, the mental health of the exhibiting artists, their own rightful ‘ownership’ of the space as tax payers (surely that’s like me saying that I have a say in who Kendal NHS trust admits for kidney dialysis? Me, I’m happy to trust the appointed...)

The director James is a really nice guy and certainly didn’t strike me as spoiling for a fight, but like most contemporary art curators, he is more used to public apathy than this.

I know a bit about this scenario – a long time ago I worked at Edinburgh Printmakers Workshop, a place with its fair share of revolting members. In fact, after my time there a successful coup was indeed orchestrated and various staff thrown out.
I asked my boyfriend Adam (he’s the director of Grizedale Arts) for a bit of advice: Grizedale had an – ahem – ‘tricky’ membership, when he joined seven years ago. But the contexts are so different: GA’s members were generally reliably apathetic to the new wave GA, though a few were nostalgic for the days of Ken Dodd in the Theatre in the Forest (they still call the office for his next gig) and Andy Goldsworthy in the leaf mould.

So Newlyn’s very vocal besmocked bourgoisie are a different kettle of fish as they clatter about the prom with their easels: I left wondering if a New Newlyn School of Contemporary Art Appreciation, Tolerance & Debate was needed.
Count me in as a speaker.

Va bene cosy? Italy again...

We're just back from a week in Tuscany and Umbria, a country I lived in for a year back in the mid 90's but have seldom visited since, except for the odd art weekend at Shoreditch-by-the-Sea, aka the Venice Biennale. Back in 93/94 I lived at the peculiar and charmingly archaic institution of the British School at Rome(BSR), a boarding-school like base for all sorts of scholars with all sorts of Italian fascinations - from topiary to Roman Republican coins to cottaging in the nearby Borghese Gardens (I had my own share of less welcome sexual encounters with the exhibitionist men of Rome there too - in particular I recall a dismounted motorcyclist clad in waterproofs who didn't mind at all feeling the rain on one particular body part).

My affectionate memories from the BSR at that time are of lengthy dinners, midnight jaunts to the fabulous library and much simmering sexual tension - could have been our youth, the heat or the epic discussions on Piranesi's 'Great Drain' etching, who knows. I shared a studio with Roddy Thomson, whose art-prank, deeply satirical letters in collaboration with Colin Lowe (later published to some deserved acclaim as The Harang-Utang Letters) were just beginning to be devised. The arrival of Colin's drafts by post were a source of regular hysteria and a good reason to postpone getting down to anything like real work. Roddy is still a close friend, and I remember his final BSR show included a straight jacket made out of one of the School's bedspreads - it seemed to say it all ;-)....I know that the BSR has been upgraded significantly since my time - in fact the Sainsburys visited, chequebook in hand, whilst I was still there - maybe a recent BSR scholar can post a comment and let me know what's changed.

Anyway, despite not venturing as far as Rome, it was of great interest to return to a country which had played such a large part in the early part of my career, if not in the way it strictly speaking was intended to. This return was made all the more intriguing by my holiday reading of Tom McCarthy's great novel 'Remainder' and of Duncan McLaren's 'Looking for Enid'. The author of the former I met a few years back during the R & D of an aborted exhibition on re-enactment by curator Sarah Cook. The book is everything it promised to be at that early stage - a creepy and forensic study of the power of memory and trauma.
Duncan I have known for some years and he was a participant in our film 'Bata-ville: We are not afraid of the future', during which he met Kate, who features throughout his present investigation of Enid Blyton. Weirder still, Duncan - who has previously cast me as a re-incarnation of John Ruskin in his novella 'The Strangled Cry of the Writer in Residence' (don't ask) - includes the Bata-ville project in his book on Enid, albeit disguised as a trip in the name of Marcel Proust. Both books are mille-feuilles of memory, Duncan's a more robust (as you'd expect from something on the cheery and relentless Enid) confection than Tom's, but each prone to fissures through which glimpses of personal obsessions amid universal experiences can be seen.

My first impressions of Italy this time round were not great - the vast industrial sprawl between each exquisite hilltown seemed to merge each into the next; the roads were just as crazy but now even in towns the pedestrian seemed a rarity (except for for the enduring ice-cream eating flaneur's 'passigata'). It took a while for me to realise that, of course, 13 years ago I had probably arrived at most of these hilltowns by train, and been remorselessly carried along by the erudite enthusiasm of some BSR scholar so that by the time I was in front of the Piero Della Francesco in question, I was blind to anything but the aura of the treasure in front of me. I remember almost nothing of the journeys of these pilgrimages, apart from once when Nicholas May nearly drove into the car ahead in thick Umbrian fog. It can't be a coincidence that this excursion is not one for which I have find memories: Not only did we avoid near death on the autostrada, we also survived the vast Collezione Burri which was the destination of that particular trip - 5 ex-tobacco warehouses filled by the Italian painter before his death with his morbid abstracts. Bizarrely, we chanced upon the place again during this trip (whilst looking for the nearby folk art exhibition which we would have no doubt ignored as young art enthusiasts) - it felt smaller and more interesting, I nearly asked to see their old visitor book so I could be sure what I'd thought of it in 1993. Adam got the giggles over the ludicrously overblown guide text, and when the stern curator (God, what a job) declared that no they didnt have an available copy for us to take away, it definately wasn't for wont of a photocopier.


How different these 'grand tours' felt now, at once liberated by having our own set of wheels and enough cash for a fine lunch each day, and yet so much more complicated and filled with the distractions of maturity, the small portion that Adam and I have between us, that is.
Adam, this being his first visit to this, the motherload of art, was suitably awestruck at each new 14th century fresco we saw, whilst I dallied on the pews, trying to focus - futile, like I used to do before I gave up yoga. Each revisited masterpiece had, for me, the quality of a photograph or a reproduction - not from art history books, it's too long ago that I looked at any of those - but from my own past visits to see them whilst at the BSR. Tom's book resonated strongly in my mind, as I tried to flick backwards through my memory's card index, to re-experience the moment of their impact on me.

After a few days I began to recognise shreds of the old Italy I had been fond of: there are still old women everywhere, still wearing standard-issue flowery wrapover aprons over their huge chests, still carrying buckets (why? have they just cleaned the church?) or arched over a dusty vegetable bed. The infamous inefficiency of the country is still evident in queues of all nationalities all over railway stations, especially at the timetables which bizarrely are arranged by departure time instead of destination. There are still -magically- almost none of the usual high street suspects such as Starbucks or the Body Shop. The Italian teenagers still don't seem to rebel any further than ordering a chocolate wafer on top of their copettas of ice-cream.

Perhaps Duncan McLaren is trying to tell me something, next stop 'A la recherche de temps perdu' ?

Love shack bay-beee!

Praise be!
Some 4 years since we snapped up what seemed to be the only affordable rural property in the Lake District National Park, we have finally obtained planning permission for what has become known as the "Love Shack" - to replace the mouldy-log-cabin-the-size-of-a-static-caravan, with possibly the LDNP's first bit of domestic contemporary architecture since the portcullis crashed down some time in the 1970's. I'll spare you the details of this torturous and expensive planning process here, suffice to pass on these words of wisdom to anyone thinking of following our lead:
- Don't use a consultant - the LDNPA moves in too 'mysterious' a way for anyone to be much good at dodging their bureaucracy
- Don't expect neighbours and parish councils to hold to my mum's adage 'If you've got nothing nice to say, say nothing" - even if you go out of your way to be inclusive, nimbyism thrives in the LDNP
- Don't give up - go to Appeal if neccessary and make it clear to the planners you intend to see your plans through at any cost

So, many thanks to our friends and families and colleagues who have survived our endless moaning during the process, and here's to the next few months of creating a tiny bit of the future in the Lake District!

Potty time

Last week saw a visit from my three nieces who live in Glasgow, and hence many days and nights of me trying to recreate a temporary 1950's rural childhood for them as they looked on bemused - hiking, nature watches (owls and toads) and wholemeal bread. All things I hated as a child, but that's not the point of course.
Last night we broke out to Ambleside to see the latest Harry Potter film together, surprisingly watchable I thought except for the creepy thirty year old actors in school uniforms. I particularly enjoyed the none-too-subtle 21st c socio-cultural references, which were so leaden they made the Simpsons look like Kafka.
Most striking was the 'Ofsted' sub-plot whereby the 'Ministry' deems the Hogwarts magic school to be below standard and too focused on practical teaching and dominated by rather charismatic and arch staff who the kids love. This regime is replaced by a Ministry-approved Mrs Umbridge (dig the pink Jackie-O in a size 16 - costumes) who preaches theoretical-only magic (ie no wand-action), posts thousands of notices prohibiting absolutely everything and generally is torturous and snide. It's not a complex metaphor, and not unenjoyable either but I'd be interested to know how many kids see it as clearly as their parents must.

When in Barcelona

I was raking around in my handbag for my always elusive mobile phone last week when out came an old sugar sachet from a place we'd eaten last Christmas in Barcelona. It reminded me that I always meant to post a recommendation for the place online:
El Convent, Jerusalem 3, 08001 Barcelona, T 933 171 052
(It' s one minute's walk from the back of the famous food market Mercat de Sant Josep/ La Boqueria on La Rambla de Sant Josep)
There we had a 3 course meal for around 8 Euros, delicious, traditional rustic food in a fascinating old building with friendly but low-key staff.
If you fancy it, read one of my earlier food rants here

Keep the faith

Last weekend we held an Architecture Week event at a log cabin we bought in Cunsey in 2003. For 4 years we have been trying to replace the decrepit cabin with a small contemporary wood and glass house by Sutherland Hussey Architects. The design - on their website - has attracted everything from Sunday broadsheets to Grand Designs, and even if Adam wasn't related to one of them I'd find it hard to fault their credentials, and yet most meetings with the local planners end with them suggesting some design 'improvements' . Even the (failed) Appeal we endured on the first application ended with the Inspector making some 'helpful suggestions' and wondering why we wanted to bother with all this pretentious nonsense - why not just plonk another prefab down?
Thank God I'm not the architect, I'd have to be carried off shrieking, but being the 'client' is no easy ride either.
As anyone who has tried to engage with the Lake District National Park planners will tell you, they're not a bunch to embrace contemporary architecture readily, being much keener on slate-clad walls, cute pitch roofs (Brazilian slate since ours is too expensive, is fine tho') and faux-heritage trimmings. Being a very special National Park they can largely ignore the shift in national planning policy towards 'greening' architecture and accepting that Modernism is here to stay and actually rather nice to live in. Instead we see endless, poorly built perpetuations of Lilliput Lane / Beatrix Potter style houses - Disneyland actually does them better, using better building techniques and attention to detail.

Anyway, back to the event. An amazing 30+ people found our tiny, remote site and an informal support group for self-builders and lovers of good architecture, emerged over cups of tea. After years of neighbour trouble and planning friction, it was genuinely moving to meet like-minded people who loved the design and were willing us to succeed and not give up! I had heard of urban Architecture Week events with noone attending, so was amazed to find that in the heart of what seems the most conservative place in England, there is a healthy group of dissenters.
Let's hope we can keep the faith long enough to do everyone proud and build the darned thing.

You can read Adam's blog about the event here.

Catsnap

One of Adam's conditions placed on the acquisition of cats here at Lawson Park is that they match: Unsurprising for a man with more collections than hairs in his beard.
Since adopting feline no. 2 - the lavishly friendly but rather plain Maurice (named after Adam's grandmother's revolting pug) - I have periodically managed to gather photographic evidence of his matching feline no. 1 - the exquisite but aloof Tomas Bata the Fourth.

I think that's Hungarian for 'rearing stallions'

It's not often the rural laptop gets out and remembers to blog about it afterwards (is that a sign of a good or a bad night out?!). But in London recently during the final - and expensive (£300 an hour for a colourist, ahem) - throes of our film Living with the Tudors I managed a couple of how shall we say, diverse, cultural experiences:

I liked the shortswearing Hungarian Agaskodo Teliverek so much at their Resonance FM fundraiser so much, I bought their CD. If "sounding something like a cross between Captain Beefheart, Public Enemy & Venetian Snares" sounds good you you can find the duo online here.


Asparagus, the opera, an art performance I went to with Jet, was altogether weirder. A packed venue of art vermin, men in bad costume, music (good) by (I think) Les georges leningrad - but I didn't get it. I met Jonathan Griffin afterwards, reviewing it for Frieze (poor guy) who confirmed my suspicions that it might be a reenactment of some kind but also seemed bemused. Looking for online links to offer you I fail to find anything, if it wasn't for this picture I took I'd begin to doubt my own sanity.

This is Easter food

Mercifully far from M&S and their attempted monopoly on Easter edibles, we plough a different furrow up here:
1.
A pudding which should possibly be illegal , that's how calorific and delicious it is, is Sussex Pond Pudding , so rich I have only made it once before, for my appreciative friends Ben & Freddie. It's nuts-sounding - a ye olde steamed lump with a whole lemon in the middle - a WHOLE LEMON!
My recipe is Elizabeth David's but Waitrose has a good one online too here though it recommends clotted cream to serve - I mean, are they trying to get sued?!
2.
To offset such indulgence, I prepare a double bento box of vegan Japanese food one evening:
In the middle is some slices of carrot pickled in nuka - an ancient Japanese pickling technique mixing rice bran and salt, garlic and seaweed. Like a good bread culture, this mixture lives indefinately as long as you stir it daily. This resulted in a recent holiday in France for the nuka, as our absence from home for 5 days would have meant certain death...

Mr Potter's legacy

'Miss Potter' the movie is enjoying a seemingly limitless run in local cinemas here - when we saw it the soundtrack was barely audible under the locals screeching 'That's NEVER the real Hill Top!" and "I've never seen it as sunny as that!". I wonder if 'Brokeback Mountain' had the same popularity in Alberta, Canada or 'Cape Fear' thereabouts....

Whilst the locals are numbly relishing the image of a de- touristified Lake District populated by actual farmers and reasonably priced property , we find ourselves on the receiving end of a solicitors letter from none other than the company of one Mr Heelis, aka Mr Beatrix Potter. Yes, incredibly, the firm has endured as one of the major legal players locally, and a narky neighbour of ours has commissioned them to wrangle over a boundary issue with us.
Mr Potter's man meets us near the disputed boundary, and brusquely sets out his stall - no, his clients don't own this track, but yes, they'd rather we didn't obstruct it; no, his clents can't technically stop us from parking there but yes, they'd rather we didn't, etc etc.

Isn't it heart-warming to know that the great authoress' legacy is not restricted to chubby rabbits?