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SILTings: Shrimpers and Mudlarks; Fish and Ships

Duncan Grant: Bawley boat in Bawley Bay
Duncan Grant: Bawley boat in Bawley Bay

This is the third of my blogs about the SILTings creative programme, which runs next weekend (Friday 4th – 6th June 2021) online, aboard LV21  and the surrounding quayside, and at various locations around Gravesend town centre.

If you missed the last two blogs you can catch up here and here.

I do apologise to those of you who got an unexpected preview of this blog, yesterday afternoon. I pressed the wrong button. This is the final version!

Shrimpers and Mudlarks
For the main part of this blog, we’re back with the Shrimpers on Bawley Bay in Gravesend, but this time virtually and through the medium of dance, captured on film by by dancer/choreographer Daisy Farris and artist Nicola Flower.

During the 19th Century, shrimpers would catch and cook brown shrimps aboard Bawley boats and bring in their hauls to sell at Gravesend market, or at the various family run shrimp merchants around Gravesend at that time.

Duncan Grant: Warners Shrimp Merchant, Gravesend
Duncan Grant: Warners Shrimp Merchant, Gravesend

My Great Aunt Hilda used to work in Warners Shrimp Merchant on Cross Street, near the river in Gravesend, preparing shrimps to sell to tourists in Rosherville Pleasure Gardens.

More than ten years ago, visual artist Nicola Flower, heard about the Bawley Bay Shrimpers and the story stuck with her.

In 2014, Nicola met contemporary dancer, Daisy Farris. The two women had  applied, separately, to produce work for IN-SITE, a regeneration project taking place along the Rochester riverside. Both artists were successful and the commissioners paired them up.

 

The rest is history.

Duncan Grant: Shrimpers
Duncan Grant: Shrimpers

‘We made our first piece together,’ remembers Nicola. ‘And then we just kept coming up with ideas of other things that we might do together.’

Although the women have very different backgrounds, they also have a lot in common.

‘We’re from different artistic disciplines but we’ve both got an interest in each other’s work,’ Nicola continues. ‘So Daisy’s definitely a visual creative artist as well as a dancer and I’m interested in the things that I make as a visual artist coming alive. And we both really like is storytelling.  We’re very interested in narrative, but neither of us is overly attached to that narrative being true.’

Nicola Flower and Daisy Farris: She's Like A Forest Fire...Unstoppable
She’s Like A Forest Fire…Unstoppable

 

Although Nicola and Daisy both continue with their own artistic endeavours, they enjoy the support and challenge that comes from their collaboration.

‘Collaboration is so stimulating,’ Nicola says. ‘I’m very excited with my own ideas but I love it when there’s something to butt up against. It takes me out of myself and it makes me think and respond in a different way.’

 

Nicola Flower and Daisy Farris: She is Like a Forest Fire...Unstoppable
Blue dresses hanging from Chatham’s Anchorage House

Their first collaborative work for IN-SITE was a dance performance and installation, She’s Like A Forest Fire…Unstoppable. It championed interesting characters from the Medway area and, in particular, featured a woman known locally as ‘Bluebell’.

Bluebell was an eccentric who, in the 90s, was often seen walking between the Medway towns, dressed entirely in blue.

The production drew on people’s memories of Bluebell and featured oversized blue dresses to capture her essence.

In homage to Bluebell the blue dresses were hung as an installation at Anchorage House, Chatham.

‘Artists can challenge the hierarchy in history and give a voice to people who are not usually thought of as heroes,’ says Daisy.  ‘Bluebell was flamboyant, ritualistic and joyous, but she experienced exclusion from society. Through our work, we wanted to celebrate a compelling and universal character and elevate her status.’

Since then, Nicola and Daisy have continued to collaborate on site-specific works, often linked to rivers.

Daisy Farris and Nicola Flower: 'The Great Thames Disaster' performed on LV21 ©Gigi Giannella
‘The Great Thames Disaster’ performed on LV21 ©Gigi Giannella

In 2018, they toured their production The Great Thames Disaster performing it in venues on the route that ill-fated passenger paddle steamer, the SS Princess Alice would have taken along the river.

The SS Princess Alice sunk in 1878, following a collision with a collier ship, The Bywell Castle, near North Woolwich Pier, on the River Thames . It was carrying 700 passengers returning to London after a day at the seaside.

650 men, women and children died in the incident – the greatest loss of life in any Thames shipping disaster.  The tragedy led to the collapse of the Sheppey tourism industry at that time.

Nicola Flower: Flotsam
Nicola installing ‘Flotsam’ on LV21

 

 

 

 

Following the accident, it is reported that a flotsam of male and female apparel covered the surface of the Thames.

As part of her research for the project, Nicola created a large-scale drawing of this on the deck of the generator room, aboard LV21.

You can see a trailer here for The Great Thames Disaster dance performance, which Daisy choreographed and which involved members of her company, Daisy Farris Dance Collective.

Collaborating in a crisis

Mudlarks at Bawley Bay, Gravesend
Mudlarks at Bawley Bay, Gravesend

It wasn’t until 2018, that Nicola’s idea for a dance performance based around the shrimpers of Bawley Bay and the mudlarks, who scavenged in the Thames for items to sell, started to become a reality.

‘Initially our idea was that this would be a performance with multiple costumes and dancers from Daisy Farris Dance Collective,’ explains Daisy. ‘We were having a very exciting conversation with Päivi Seppälä, co-owner and director of LV21, about producing it for what was going to be SILTings Festival 2020, and then within a month it all stopped because of the pandemic.’

 

‘Then, later, when the second wave of the pandemic arrived, Päivi told us that although the festival would go ahead in 2021, realistically, we weren’t going to be able to have a number of dancers and we weren’t going to be able to perform in front of an audience,’ Nicola continues. ‘So we started to think about an online alternative, something that has a legacy. We had made a film previously,  in 2015, so we decided on that, with the hope that, perhaps, we might revisit the performance as a live event in the future, when we’re allowed to.’

Nicola Flower and Daisy Farris: Shrimpers and Mudlarks. Research
Exploring ideas: Using props

COVID-19 lockdowns and social distancing rules made life difficult for all artists. But for Nicola and Daisy, who were collaborating on a project, the effect could have been devastating. Lockdown restrictions made life more difficult – they spent a lot of time on Zoom, which was a lifeline – but there were also liberating factors that in the end, they feel, made their work stronger.

‘Pre-COVID, the outcome of this project would have been very different,’ says Nicola. ‘For me, the creativity we’ve tapped into has been exceptional because of the pandemic.’

Daisy agrees.

‘Although it didn’t feel like it at the start, I think the pandemic was a bit of a blessing in disguise,’ she says. ‘We really honed in on what we as artists wanted out of the project. Sometimes that can end up being pushed to the back because you are committed to having to produce certain outcomes. But because nothing was happening, all expectations went out of the window and we were given more free rein than we’ve ever had before.’

During 2020, Gravesham Borough Council created a series of small grants Make It in Gravesham to support artists to continue to work during lockdown and to stimulate public engagement when public performance and face-to-face, participatory events were not possible.

Nicola Flower and Dasy Farris: Shrimpers and Mudlarks -illustrated postcards
Illustrated postcards captured memories of Bawley Bay

Nicola and Daisy were successful in receiving some funding through the scheme.

‘That was a real challenge because we suddenly realised that we didn’t know how to do that!’ Daisy laughs. ‘Nicola and I spent hours and hours Zoom together thinking about how to make work. And in the end it was great because we engaged people in ways that we never thought we would and we worked in ways that we never imagined.’

The pair made videos for nursery and primary school children, for LV21’s Think Up cultural education programme, focused on the sensations and movements associated with shrimping and mudlarking on the Thames.

Nicola Flower: Shrimpers and Mudlarks. Research
Nicola Flower: Capturing movement in drawing

‘In the primary school video, Daisy would do some movements that shrimpers and mudlarks might have done on Bawley Bay – manual work, the playful wrestling actions of the mudlarks – and I would do a drawing showing the children how to draw the shapes that Daisy made,’ Nicola says. ‘Our nursery video tried to  recreate the sensations that you might experience on Bawley Bay – so, the sound of pebbles, the movement of heavy objects – using plastic bottles or dropping stones in water. And we also sent illustrated postcards to the elderly communities in care homes and sheltered accommodation, which they returned with written memories of Bawley Bay.’

The artists combined elements of their research into Bawley Bay, with children’s drawings, and the stories and memories of elderly care home residents to inspire and inform their final creative piece.

‘It was a way in to the performance itself,’ explains Nicola. ‘Our projects often start with heritage, but it’s not in-depth heritage. We like a suggestion of heritage, so we draw on snippets of information that could be urban myth, or a memory, or even something half-remembered.’

Building the performance

Woman on Bawley Bay, Gravesend
Woman on Bawley Bay

The Shrimpers and Mudlarks performance was inspired by a photograph from Fishermen from the Kentish Shore by Derek Coombe. It shows a woman standing alone on Bawley Bay looking out to the river from the bank of the Thames. It is the only picture of a woman in the Gravesend section of the book.

‘We are two women making work and we often tend to lean towards the femininity of work,’ Daisy explains. ‘We think the shrimper women were responsible for selling the cooked shrimps when they arrived in the Bay. We thought this kind of job would be messy and tiring and probably a bit smelly, but we wanted to capture a little bit of the vulnerability of the woman alone on a beach through the dance performance.’

Shrimper
Shrimper

Nicola is a textile artist and created the costume for Daisy to wear in the dance performance. It was the first time that she had created a costume specifically for her to perform in.

‘We had a conversation fairly early on about whether we wanted the costume to be a very realistic costume of a late Victorian era, or a modern take on that – and that’s what we’ve gone with,’ Daisy explains.

‘I started to construct a garment very intuitively, from ideas to do with worn and torn, patchwork fabric with layers that you can move in to do a manual job,’ explains Nicola. ‘And then I had an idea that I’d like to make a big cape that was encrusted with pearly shrimps – much more beautiful than she would have had – but a nod to the fact that her whole livelihood was the shrimps.’

Nicola Flower: Shrimpers and Mudlarks costume

[Nicola’s costumes for ‘Shrimpers and Mudlarks]

Nicola drew on the skills of the Gravesham community to embroider the shrimps, and also made an enormous fabric ‘net’ from recycled sari fabrics and scarves donated by members of the Rethink Gravesham Sangam group.

Nicola Flower and Daisy Farris 'Shrimpers and Mudlarks' Embroidered shrimps

[Embroidered shrimps]

Finally after months of working together virtually, at Easter this year, Nicola and Daisy had the chance to spend a week together in St Andrew’s Church in Gravesend, to try out their ideas in practice. It gave them an opportunity to review  the project and decide what worked and what did not.

Daisy Farris and Nicola Flower: Shrimpers and Mudlarks rehearsal
Rehearsing in St Andrew’s Church

‘You can immerse yourself in the creative process, but there’s a tipping point where you have to have a bit of an honest conversation to see if it is really going the way you want it to,’ Nicola explains. ‘And definitely there was a moment that Daisy and I recognised that less is more and we knew we’d found  the “sweet spot”.’

‘That’s where collaboration is really helpful,’ Daisy adds. ‘We started off with a lot of props – we had this big megaphone, we had big shoes, builders’ bags and rope, all of which was trying to get me to move in a way that was evocative of manual labour. But it just takes one of you to be brave enough to say, “I don’t think we need that” and then you begin to see things differently.

Daisy Farris and Nicola Flower: Shrimpers and Mudlarks
Rehearsing in St Andrew’s Church

‘It’s a lot harder to make those judgements when you are working on your own because you’re too involved in what you’re doing to know what enough is. So we had a conversation towards the end of that week where we agreed to just put the props to one side, to do less, to let the art speak for itself and trust that what we’d brought to it already was enough.’

The final performance, which was filmed on Bawley Bay over a weekend, depicts scenes spanning a day. Daisy dances alone to a specially commissioned score, composed by musician Aleph Aguiar.

In her cape encrusted with pearly shrimps she moves to reveal glimpses of her patchwork dress underneath.

Daisy Farris and Nicola Flower: 'Shrimpers and Mudlarks'. Filming on Bawley Bay
Filming on Bawley Bay

As the day, progresses her demeanour changes from vulnerability to strength, until finally the dancer discards the cape to reveal a giant skirt of patched fabric, which she uses like a heavy shrimping net, laying it out on the shore and then pulling it in.

As the end of the day approaches, lights in her cape and nets evoke the golden glow of shrimps and mudlarking treasure.

The costumes Nicola created for the performance will be on public display at Gravesend Library window throughout Estuary 2021.

The film premiers online on Friday 4th June 2021, and will be screened in various public places over the coming months. But you can see it here!

Fish and Ships

Duncan Grant: Boats and Buoys
Duncan Grant: Boats and Buoys

Between 4th and the 12th June, I’ll be gigging alongside the Gravesham Urban Knitters in Fish and Ships as part of the Gravesham Estuary Fringe Festival.

Inspired by the river, the Gravesham Urban Knitters have made over 50 small knitted fish and 50 miniature knitted boats. These will be exhibited, alongside some of my boat pictures on board LV21 during SILTings (4th to 6th June) and along the quayside on the 12th June.

 

Gravesham Urban Knitters: Fish and Ships
Gravesham Urban Knitters: Fish…

 

You might know the Gravesham Urban Knitters from their other projects around Gravesham. These include a knitted 4-foot high model of the Gravesend Clock Tower, and a whole pod of knitted Benny the Whales, when Benny was in Gravesend. They’ve  even knitted bikinis for trees!

The group meets at Gravesend market on Thursdays from 10am – noon. If you’d like to join them just turn up or contact them via their Facebook group. Meetings are COVID safe and you’ll be welcome, whether knitting or crocheting is your thing.

At the moment, the group are making flowers to decorate part of the town centre for Blooming Lovely Festival in July.

Gravesham Urban Knitters: Fish and Ships
Gravesham Urban Knitters: …..and Ships

If you want to give it a try before you commit, or if you just want to have a go, why not go down to the quayside between 11am and 4pm on 12th June, pick up a free craft pack and join Gravesham Urban Knitters in Worldwide Knit in Public Day.

If knitting isn’t your thing, why not join me instead and create your own souvenir postcard using cyanotype printing techniques.

Further information

Shrimpers and Mudlarks
Aleph Aguiar
Website: alephaguiar.com

Daisy Farris
Website: dfdcollective.co.uk

 

Nicola Flower
Website: nicolaflower.co.uk

 

Fish and Ships

Gravesham Urban Knitters
Facebook: https://www.facebook.com/graveshamknitters

Duncan Grant
Website:
http://www.duncangrantartist.com
Gallery:  http://www.duncangrantartist.com/shop

See also my other SILTings blogs SILTings: The Trail of the Blue Porcupine and SILTings: Filaments Art Collective on LV21

Festivals

SILTingshttps://lv21.co.uk/projects/siltings/

The Estuary Festivalhttps://www.estuaryfestival.com/

Creative Estuary https://www.creativeestuary.com/

 

 

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The Hot Tin: Making a bid for the future

Duncan Grant: What a Liberty private view
‘What a Liberty!’ opening night at the Hot Tin

The Hot Tin Auction is Live. Click here.

It was just about this time last year that I exhibited at The Hot Tin arts centre and cafe in Faversham, Kent. https://www.the-hot-tin.co.uk/

I’d just received some samples of the Liberty London fabric printed with my designs and it was the perfect place to celebrate alongside the other three #LibertyOpenCall winners.  Barman, William Ford, designed a cocktail ‘The Drunken Duncan’ (gin, lime, lovage and absinthe) specially for the occasion and we danced the evening away to Northern Soul, from DJ Ged ‘Stax Volt’ Kelly. htpps://m.mixcloud.com/XRAYSOULCLUB/  It was a great night! If you were there, you can relive it a little here: https://duncangrantartist.com/2019/05/19/what-a-liberty-great-first-night-at-the-hot-tin/

The Hot Tin, Faversham
©cene-magazine

Well how quickly things can change.

Just a few days before the UK went into official lockdown, on 20th March 2020, Boris Johnson announced that pubs, bars and restaurants would close for the foreseeable future. Three months down the line, small venues like The Hot Tin are struggling to survive.

RouteStock
The Hot Tin
(or The Tin as it is known) is the brainchild of Romana Bellinger and Mike Eden.

Their company RouteStock  https://www.routestock.org/ is a non-profit Community Interest Company (CIC) dedicated to bringing communities together through art and music.  RouteStock  specialises in creating audiovisual content for prestigious live arts events all over the country.

©cene-magazine
Romana and Mike ©cene-magazine

Their professional portfolio includes Lost Lectures https://lostlectures.com/ which Romana describes as ‘a bit like Ted talks but funkier’, the Breakin’ Convention hip hop fusion dance festival at Sadlers Wells https://www.breakinconvention.com/ and work with live orchestras.  Three years ago,  they worked with the late Roy Budd’s wife to produce a restored version of the 1925 film Phantom of the Opera, accompanied by a 74-piece orchestra,  which premiered at the London Coliseum.

The Hot Tin
©cene-magazine


Finding a venue
But the dream for Romana and Mike was always to create their own arts venue, to complement and extend their RouteStock projects.  When they saw the  Grade II listed, converted tin chapel online, they couldn’t resist.

‘The idea was always to have a place of our own, so that we could do what we love doing – connecting with people and bringing people together,’ Romana explains. ‘When this building came along it was a match made in heaven. The living accommodation was beautiful but when we saw the main hall, we just thought, wow, we can do so much with this!’

Tin chapels
Originally, St Saviour’s Church (still  the building’s official address) was a flat-pack church, built around 1885. It was probably made in the Old Kent Road in East London, and then brought down the river to Faversham on a Thames barge.

During the Victorian era, the rapid growth of urban populations , prompted the mass production of cheap, easily erected buildings to meet the needs of new communities.  Pre-fabricated churches were relatively cheap. £150 would buy you a chapel seating 150 people. The size and other embellishments could be altered to meet different needs and budgets. If you are interested, you’ll find lots of technical information about these buildings here https://www.buildingconservation.com/articles/tin-tabernacles/tin-tabernacles.html

Before it’s recent transformation into an arts space, The Hot Tin building experienced many reincarnations. It remained in use as a church from 1885 until 1950, when it was deconsecrated.  After that, for a while, it was used by a school for gym lessons and piano teaching, and then as a scout hut.  Romana explains that the different glass in all the windows is probably down to the ball games played inside.

Over the years, the building has also been a camping shop, a printers and an antique furniture showroom, before being used as a joiners for 30 years. Romana and Mike bought the building from Nick Kenny, who had converted the back of the building to living accommodation and used the main hall to build bespoke kitchens and bathrooms.

Renovation
Because The Hot Tin is a Grade II listed building, remodelling possibilities were limited but that suited Romana and Mike. ‘We didn’t want to dress it up and make it prettier than it was, because the building has its own beauty,’ Romana explains. ‘ We painted to some extent and opened up an area that had been blocked off.

The main thing was cleaning the ceiling. It was in a terrible state. So we had one of those telescopic cherry pickers and we were up there with Henry the Hoover, for about a week, cleaning off layers and layers of wood dust.’

Because it is a tin building with no insulation, The Hot Tin gets very hot in the summer – hence the name – and cold in the winter, so Romana and Mike researched a way of heating the big space that would be as efficient and sustainable as possible. Now infra red heaters keep The Tin hot all year round.  Future plans are to restore the building, rather than to change it.

The Hot Tin, Faversham

A new arts space and cafe
For 18 months before the lockdown, The Hot Tin  was thriving. The cafe, with its art exhibitions and workshops, locally sourced coffee and homemade vegan food attracted families, local businesses and other residents during the day. And in the evening, live music, DJ sets and films attracted a broad spectrum of people from around Faversham.

The cafe is now an important and integral part of the business but it wasn’t always in the business plan.

The Hot tin, Faversham
©cene-magazine

‘When we saw the building, we immediately thought arts space and we started to apply for our licences,’ explains Romana. ‘But because some people in the area just didn’t understand what we were doing, we got a lot of opposition. So we thought maybe we should have a cafe. That would support our events and allow people to get to know us and to understand who we are and what we are trying to do. ‘

Local resident Debbie Lowther was one of those who was sceptical at first.  ‘When I first saw the planning permission for turning the Tin Chapel into an entertainment venue, I couldn’t see how it would work,’ she says. ‘ But work it does… for quiet coffee meetings or lunch during the day and for its music, great art and yummy cocktails, all unique in Faversham. I love it!’

Griselda Cann Mussett, who also lives in Faversham, agrees. ‘The Hot Tin has become something of a marvel with excellent food, art exhibitions and occasional music and all so well-run. It’s an imaginative use of an unusual and special building,’ she says.

‘Our main ambition is to provide a one-of-a kind venue for live music, performance, films and the arts,’ Mike says. ‘We want to promote musicians and artists from around the world and around the corner.’

‘What we strive for is to be a place that is inclusive and where people feel comfortable,’ Romana adds. ‘Everyone is welcome here. We want to bring these sorts of arts events to the people of Faversham in their own town, so they don’t have to go to London for them.  We want to make The Hot Tin a resource for the community again, which is really what this church was built for.’

The Hot Tin, Faversham
©cene-magazine

Although it has only been open for 18 months, The Hot Tin has hosted some classy acts.  These include Switzerland’s urban folk band Black Sea Dahu https://www.blackseadahu.com/ French-born Tucson singer Marianne Dissard (who now lives in Ramsgate) https://www.mariannedissard.com/ local electro-acoustic duo Liotia http://liotia.co.uk/ and from the forefront of the new London jazz scene, the Ash Walker Experience, a multisensory show with a six piece band. https://www.cenemagazine.co.uk/news/2019/12/6/the-hot-tin-ash-walker-experience

The last artist to play at The Hot Tin before lockdown was spoken word artist, writer, saxophonist and bandleader, Alabaster dePlume whose performances have received wide critical acclaim https://www.alabasterdeplume.com/

 

Lockdown and beyond
The coronavirus emergency and the closure of entertainment spaces and venues has hit The Hot Tin hard. Because they have so little outside space, Romana concedes that they will be unlikely to reopen for quite some time.

RadioRouteStock https://www.routestock.org/radio is still broadcasting LockDown DJ sessions. Details of tonight’s session (14th June) are in the image on the right. And Romana and Mike are exploring a subscription-based, TV broadcast quality, live streaming service, whereby audiences could have access to live interactive shows without being  present physically at the venue. Once The Hot Tin is up-and-running again, live streaming could continue to be used to increase access to events for those who are unable to attend in person.

Fundraising
To help get them through this difficult period, The Hot Tin is trying to raise some money through two fundraising initiatives.

‘We  are part of the Music Venue Trust http://www.musicvenuetrust.com/ and we’ve got a Crowdfunder campaign at the moment,’ Romana explains. ‘As a collective, we’re trying to raise money and awareness because grassroots venues are obviously going to be hit hardest by lockdown.’

So far The Hot Tin has raised nearly £2,500 towards its target of £10,000. Donations will help Romana and Mike keep some of their staff who ‘fall between the cracks’ of the government support schemes, cover some of the business’s ongoing overheads and losses, and help towards restructuring during lockdown and for when they are finally able to open again at full capacity.

You can donate here: https://www.crowdfunder.co.uk/thehottin

The Crowdfunder campaign runs until 1st September 2020 at 8pm.  Any money raised over the £10,000 target  will be donated to the Music Venue Trust crisis fund to protect other small venues across the country.

Faversham-based artist and Hot Tin bartender, chef and cocktail supremo, William Ford, is also organising a silent auction to help keep the venue afloat.

There has been a callout to creatives to donate artworks, ceramics, merchandise and crafted goods. These will be displayed and described on an auction site, which goes live on 27th June. It will work a bit like ebay, with members of the public invited to bid on items until the auction closes on 19th July.

‘We have been overwhelmed with the support we have received ,’ says William, ‘Originally we asked for artworks, because that was the idea I had in mind, but we’ve had lots of makers offering to donate things – some beautiful jewellery and stained glass. We’ve had bands offering merchandise bundles and others offering online services, such as guitar lessons or a garden design consultation. So now the auction is a proper showcase of what The Hot Tin and RouteStock is.’

The Hot Tin, Faversham
©cene-magazine

To maintain social distancing, artists will be responsible for getting items bid for to those who have won them, although The Hot Tin can help if this is not possible.

If you are keen to see The Hot Tin reopen when the time comes and would like to donate to the silent auction, please contact William. will@routestock.org

Officially the deadline for donations is today (June 14th) but William is happy to receive new offers over the next week or two.

The auction goes live on 27th June. For more information, you can follow The Hot Tin on:
Facebook: https://www.facebook.com/TheHotTin/
Instagram: https://www.instagram.com/thehottin/
Twitter: https://twitter.com/TheHotTin
or contact them info@the-hot-tin.co.uk

 

 

 

 

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Wayne Howes: Documenting London in lockdown

Duncan Grant: Roadworks in London
Normally London is busy, even at night

Visit Duncan Grant’s gallery
An unnaturally silent and deserted London in lockdown has been captured in a series of beautiful images, by Gravesend-based photographer, Wayne Howes.

Before the coronavirus lockdown, London was buzzing with tourists and locals going about their daily business. I work on the roads at night and, although some parts of London are quieter then, city life never stops.

A third of everyone that works in London works at night so there is always traffic. All-night restaurants and cafes are busy and, just before dawn, clubbers spill out onto the streets and start making their way home, past the increasing number of rough sleepers in shop doorways.

Wayne Howes: London in lockdown
Regent Street

And that’s what makes Wayne’s photographs extraordinary. They show London as it has never been seen before.  With most workers staying at home, the streets are quiet, free of cars and with barely a soul to be seen.

Wayne has taken photographs for as long as he can remember. He exhibits his work regularly at Gravesham Arts Images exhibition, which is where I first met him. And his pictures of Kent wildlife and the night sky have appeared on book and CD covers, as well as in national publications.

Wayne Howes: Mrs Fox
Wayne Howes: Mrs Fox

Wayne’s day job, as an engineer for a security systems company works perfectly with his freelance photography business. He spends a lot of his day walking between iconic buildings in central London. And wherever Wayne goes, his camera goes too.

One of his specialities is film and TV shots.

‘I don’t like the word paparazzi,’ he says. ‘But, over the last ten years I’ve photographed everything from Hollywood blockbusters like Mission Impossible and James Bond to Sherlock and Eastenders. If something is being shot on the streets of London, I’m not far behind with my camera.’

 

Wayne Howes: Tom Cruise filming Mission Impossible 6
Tom Cruise filming Mission Impossible 6

You may have seen Wayne’s shots in the national newspapers, capturing the moment Tom Cruise broke his ankle, when he misjudged a leap between two buildings, during a stunt for the Hollywood movie Mission Impossible 6′. 

With lockdown underway, nothing is being filmed in London at the moment, so Wayne, who is a key worker and still travelling to London every day for work, is capturing London in Lockdown through his photography.

 

Wayne Howes: London in lockdown
Oxford Circus

‘I think it is important to document what is going on in the current climate and to preserve the images I’m seeing every day for the future,’ he says. ‘We’ll never see London like this again, after this madness is over. In rush hour on a Monday morning, it can take you half an hour to drive down Regent Street, so to see it with no cars and no people at that time is really unusual.’

Over the past few weeks, Wayne’s pictures of empty streets, eerily quiet parks, deserted markets and a Stock Exchange devoid of traders have captured the essence of London in lockdown and hinted at the impact of coronavirus on the social, cultural and economic life of the capital.

Wayne Howes: Trafalgar Square
Trafalgar Square 9am Monday morning

Later this year, Wayne is planning to self-publish a hardback book featuring twenty-five of his lockdown photographs. He hopes to raise £3,000 to fund the project via Kickstarter.

The Kickstarter site goes live this evening and is open for donations until 7th June 2020.  You can support the project here. https://www.kickstarter.com/projects/waynehimages/london-in-lockdown?ref=ksrfb-prelaunch&fbclid=IwAR0qAhHKIqhYojTNac0urAYBopbkRBprLXaoODD-XG0pd-6xOQKQD4IY2GI

Wayne Howes: London in lockdown
St Paul’s Cathedral

As is usual with Kickstarter projects there are incentives to encourage you to give.  Here is what Wayne is offering if you donate.

For a £10 donation, you’ll receive a thank-you postcard of one of the images through the post.

A donation of £30 gets you a signed copy of the book

If you can afford to donate £45, you’ll receive a signed copy of the book and a mounted print of your choice from the book.

And for anyone able to donate £100, there is a signed copy of the book and the opportunity to take part in a photography workshop in London, with Wayne, where you can take your own images at the locations featured in the book – but this time with added people.

Wayne Howes: London in Lockdown
St James’s Park

If Wayne’s London in Lockdown project does not meet it’s target, you will pay nothing.  If he exceeds his target, he will publish a bigger book, featuring more of the hundreds of lockdown pictures he has taken.

You can see more of Wayne’s London in Lockdown images and his other work on his website https://www.howesimages.com/ or you can follow him on Facebook https://www.facebook.com/wayne.howes1 or Instagram https://www.instagram.com/waynehowes/

 

 

 

 

 

 

 

 

 

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Art world rocked as COVID-19 hits Small Town

Duncan Grant: Coronavirus
Coronavirus

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Residents of Small Town are being advised to adhere to strict social distancing measures after the world-famous region registered its first cases of deadly COVID-19. It is thought that several people, who have tested positive for coronavirus, are are now being treated in intensive care, stretching the towns already scarce resources.

COVID-19 is an infectious disease caused by the coronavirus. The disease first broke out in 2019 in Wuhan, Central China, and has since spread rapidly across the world. In March, the World Health Organisation declared a global pandemic. Common symptoms include fever, cough, and shortness of breath and, in severe cases, pneumonia, severe acute respiratory syndrome, kidney failure and even death.

Duncan Grant: Small Town #155
Duncan Grant:Small Town #155

Small Town rose to fame a few years ago when prolific Gravesend-based artist, Duncan Grant began depicting its dramatic, pollution-filled skies and the way its industrial landscapes appeared to change colour from day to day. Grant’s designs were popularised by Liberty London on limited edition fabrics and, since then, have been reproduced across the world on clothing, pencil cases and even beer cans.

Duncan Grant: Small Town in Lockdown
Small Town is now in lockdown

Although coronavirus was late arriving in Small Town its effects have been felt swiftly.  By the end of March, with just a few cases confirmed, local businesses were closed and hundreds had lost their jobs, contributing to record unemployment figures. Now, much of Small Town has ground to a halt, with restaurants, bars and leisure facilities among the first to close. Supermarkets have seen an increase in demand, with many reporting empty shelves as shoppers stockpile essential items.

Duncan Grant - Small Town: International Cheese Festival
Last year tourists flocked to the Small Town International Cheese Festival

Many of the events that kept Small Town connected to the outside world have been cancelled. Even the town’s celebrated International Cheese Festival has been postponed until further notice. There are rumours that dairy farmers are dumping tankerloads of milk down drains as demand for cheesemaking ingredients dries up, and that thousands of wheels of Gouda, Stilton, Brie and Camembert are destined for landfill.

There is an eerie atmosphere now in the once bustling docklands area, as deserted fishing boats bob in their moorings and the shipyards have fallen silent.

Since Grant drew the world’s attention to Small Town, an increasing proportion of its income has come from tourism. But fears for the future of Small Town have sparked paranoia. Residents report spotting sightseers wandering around the streets taking photographs, with little regard for social distancing.

‘A few weeks ago the virus felt far away from Small Town but this is no longer the case,’ a local explained. ‘Now we have all had our eyes opened to just how quickly this can spread.’

Duncan Grant: The Great Plague of Small Town
The Great Plague of Small Town in 1665 

Small Town has seen nothing like the current crisis since the days of the Great Plague of Small Town in 1665, which wiped out nearly half of the population and devastated the economy.

‘If this goes on too long, we won’t survive,’ a council official said. ‘This is virus is going to kill Small Town.’

Duncan Grant: Pandemic series - Masks
Outside the house, everyone must wear a mask

Recent quarantine regulations mean that most residents are staying at home. Leaving the house is permitted only for shopping or for one outing each day for exercise. It is advised that face masks should be worn at all times.

People are allowed out for one period of exercise daily

‘It is difficult having to stay inside, especially if you have children,’ one mother said. ‘We’re lucky to live in the countryside so we can go for long walks. It’s a very weird time. We’re focusing on getting through it and being as upbeat as we can.’

Duncan Grant: Inside Small Town - Dockers 2
There have been reports of groups gathering near the docks

With many public parks and spaces closed to encourage people to remain indoors and to deter gatherings of more than two people, residents in urban areas of Small Town have limited opportunities to exercise. The recent warm weather, has tempted people outside, and police report breaking up public gatherings, especially in the town’s dockside region.

Duncan Grant: Three Blind Mice
There are concerna about the impact of the virus on mental health

Duncan Grant’s drawings have often alluded the dark side of Small Town. His pictures hint at a brooding disquiet within the brightly coloured houses. Small Town Social Services have expressed concern about the impact of quarantine on a community where many people were already thought to be at risk. ‘We were experiencing elevated levels of stress and anxiety before we had any cases here’ the Chief Medical Officer stated. ‘Our resources are already stretched to the limit and it is difficult to see how we will cope with a deterioration in mental health if quarantine is extended.’

During this difficult period however, there have been many examples of the community coming together to support each other. ‘We know that there are elderly people in Small Town who are lonely or who can’t get out,’ a resident commented. ‘We in small Town have a long history of working together to help overcome adversity.’

The response to a volunteer scheme set up by Small Town Council (STC) to support the vulnerable has been overwhelming.

Duncan Grant - Pandemic Series: Stay at Home
Volunteers support those in need in the Small Town community

An army of volunteers is standing by to support neighbours in ways ranging from telephone chats to relieve loneliness, to more practical help with shopping,  dog walking or putting out the bins.

Holed up in his home studio, in self- isolation for health reasons since the coronavrus crisis started, Duncan Grant is unable to visit Small Town. He sends good wishes for a speedy recovery to the community he has come to know so well but says that, until the crisis is over, he will continue to draw Small Town from memory. ‘I just can’t stop myself,’ he says. ‘It’s a compulsion.’

Duncan Grant: Self-Portrait: Man on ventilator
Duncan Grant was in ICU at St Thomas’ Hospital in 2015 after contracting sepsis

 

Duncan Grant’s Small Town drawings and his Pandemic series can be found, along with other artwork, in the Gallery on his website.
Small Towns: https://duncangrantartist.com/?s=small+town&post_type=product
Pandemic Series: https://duncangrantartist.com/?s=pandemic&post_type=product