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Joe Machine: From Marine Town to The Holy See

My mum was born in Chatham, Kent, in 1930. She lived there until she was about 12, when her family moved to Gravesend.  At the age of 90, she remains one of the town’s biggest fans. She acknowledges that Chatham is ‘not what it was before the dockyard closed’ but she still has fond memories of a lively town full of  sailors in their crisp uniforms, on shore leave. Very much On the Town.

My mum (aged 4) on the beach at Margate with her sister, mum and Gran

Just up river from Chatham, at the mouth of the River Medway, is Sheerness, another former naval town and seaside resort. Mum remembers day trips there with her dad. They used to set off from Sun Pier in Chatham, sit on the front eating rolls with butter and cheese, which they brought with them. And then they’d have their dinner at the Co-op cafe  – fish and chips –  served with ‘real tomato ketchup’, which was  really hard to find, apparently, and so was a real treat.

It’s funny how those impressions of places that we have as kids or as visitors to a place can contrast so starkly with the experience of the people who live there – how we can miss the more threatening undertones that are everyday reality for others.

Like my mum, Joe Machine (born Joe Stokes), one of the founder members of the Stuckists (see previous blog) was born in Chatham, but over 40 years later, in 1973. But there, any similarities with my mum’s experiences end. As a child, Joe was exposed to extreme violence and had every reason to fear sailors.

Joe Machine: I'll Cut You
Joe Machine: I’ll Cut You

Growing up in Marine Town
‘I was brought up in pubs and clubs and my father’s business was near to some pretty unpleasant pubs,’ Joe remembers. ‘By the time I was 7 years old, I’d seen a lot of alcohol fuelled violence. Sailors to me were men of violence. I used to see fighting in the pubs, windows going through, pretty unpleasant stuff for a young child to see.’

Joe went to school in Marine Town, in Sheerness, where he was badly bullied.

A lot of the kids at Joe’s school had fathers in the Royal Navy.  Joe tells an unsettling story of going round to a friend’s house to play when he was just 8 years old.

‘I went into this terraced house and his dad was cooking in the kitchen,’ Joe says. ‘I can remember seeing his dad’s blue serge Royal Navy uniform and square rig hat hanging up there. That really did make an impression on me.

‘So I went upstairs playing with this kid for a while and when I came down to use the toilet his dad said, “Come over here”. He asked me if I got bullied and when I said I did, he said “Look I’m going to give you something that will stop the bullying”.  So he got a toothbrush and held it over the gas stove and he melted one end of it. Then he got two razor blades and he set them in the melted end. He said, “Look lad, I’m going to give his to you. Take it to school with you and if anyone upsets you, slash them in the face with it”

‘I was absolutely terrified, completely and utterly terrified. I wanted to get rid of it. I couldn’t take it home, so I dropped it down the drain. The next time I saw weapons like that was many years later, when I was 16, in young offenders institutions.’

Joe Machine: The Drinking Contest
Joe Machine: The Drinking Contest

Drawing on experience
Young Joe’s way of dealing with the violence he witnessed was to draw.  At first school he drew scenes from his own experience – pictures of the things that scared him.

‘While other kids were drawing what they were supposed to, I was the kid drawing people with blood jetting out of their necks, people getting glassed in the face, people getting their eyes popped out,’ Joe explains. ‘I think making drawings of the kinds of violent acts that I’d seen was a pretty healthy way of dealing with things, but it wasn’t seen that way at school. They stopped me drawing and I had to go and sit at the back of the room away from everyone else.’

Things got worse for Joe as he moved to the next class. He wasn’t allowed to draw at all without having the subject matter checked first. Things came to a head when a teacher humiliated Joe in front of the class. His drawing of the incredible Hulk had spilled off the paper and he had coloured in some of the table as well. Joe couldn’t take any more. He grabbed a blackboard compass and stabbed the teacher in the hand with it. He was removed from the school aged just 6.

Throughout the rest of his, sometimes chaotic childhood, Joe continued to draw. Outside school, he worked for his father in the arcade, but when he wasn’t sweeping up or cleaning fruit machines, he was doodling and drawing.

‘Drawing saved me,’ he says. ‘I don’t know what I would have done without art. The things I saw as I grew up really did affect me. They worried me. They disgusted me. I produced thousands of drawings, most of which ended up in the bin. Drawing for me was a kind of therapy.  It was like an externalised part of what was going on inside my head. It helped me make sense of it.’

Joe Machine: Self-portrait breaking into public house
Joe Machine: Self-portrait breaking into public house

Thievery
As well as showing an early talent for drawing, young Joe also showed an aptitude for theft. Even as a very young child, when his dad took him shopping, Joe was caught putting things into his pocket.

‘I’ve got no memory of it but my dad says he picked me up and shook me and a load of batteries fell out of my pocket,’ Joe says. ‘Most of my friends, their parents were alcoholics or drug addicts so they’d be out stealing. Everybody was at it. It was just natural – and I took to it like a duck to water!’

Joe started with easy targets – he stole from his mother’s purse, his dad’s arcade, local shops – but as he got older, he got more ambitious and took more and more risks.

‘It was like a drug to me,’ he reflects. ‘I think I kind of justified it as, I was trying to claw something back. I was trying to make something of myself in a society that I thought wasn’t up to much and had failed me at every level.’

For a while Joe made good money from a ‘pretty foolproof’ method of breaking into arcades. He bypassed the alarmed steel shutters on the front doors by dropping down through a hole cut in the felt and baton roofs . But his luck finally ran out when he tried to steal a till from a greengrocers in broad daylight. He cut through the electric cable but didn’t realise that the till was also secured to the wall by a chain.

Joe Machine: Ear cut off, numb with drink
Joe Machine: Ear cut off, numb with drink

‘I eventually managed to get away with the till,’ Joe recounts. ‘I got round the corner, where I dropped it. So I had to leave it there and run off. But, of course, they knew who I was. I got grassed up and about a day after that the police came to my mum’s flat and that was it.’

In 1989, Joe was convicted of theft and sent to  Borstal, Young Offenders Secure Training Centre where he was allowed to paint.

‘I carried on painting sailors and things like that,’ Joe says. ‘But I still couldn’t quite paint what I wanted to because everything was highly censored.’

Bill Lewis, the Medway Poets and Stuckism
After two years in prison. Joe went straight back into crime. But things had changed while had been away. His parents had split up and Joe was living with his dad. He was still paining but also writing.

‘I’d been writing for years as well as painting,’ says Joe. ‘I had this silly idea that I was going to be a novelist and I’d written loads of stuff all of which was rubbish – really, really bad.’

Fed up with him hanging around and getting into trouble, Joe’s father suggested that he join a creative writing class.  The class was taught by Bill Lewis – member of the Medway Poets and, as it turned out later, another founder members of the Stuckists (see previous blog)

The creative writing class folded after a short time because numbers were low so, instead Joe and two others met at Lewis’s place in Chatham. After a while, the other two students dropped away, leaving only Joe and Bill who became good friends. Bill introduced Joe to the Medway Poets and, in the early 90s, Joe started writing and performing with them.

Stuckists protesting against the Turner Prize
Stuckists protesting against the Turner Prize

Through that connection, Joe met Billy Childish and Charles Thomson and with them and others, went on to found the Stuckists. It was possibly an unlikely alliance. Joe was one of the only members who hadn’t been to art school. But although his background was in crime, rather than punk, he identified with the punk ethic of the Stuckists – rebelling against the established order. He also enjoyed being in the company of other compulsive obsessive painters – ‘people who just couldn’t do anything else’. And he shared their contempt for conceptual art.

‘The more I thought about  Brit Art, the more I thought that it was utter rubbish – contrived, prefabricated rubbish,’ he explains. ‘I was painting stuff from my life. I didn’t know how to do anything else. What they were doing was as far away from honesty as you could possibly get. It was nihilism. It had no belief whatsoever. They were doing it for awards. They were doing it because they wanted to be famous.’

Joe Machine: Blonde Strippers
Blonde Strippers

Joe started exhibiting with the Stuckists. His work was given prominence and he did well. He became known, particularly his ‘sailor paintings’, depicting the violence of his childhood and the sex and pornography that he was exposed to too early, in the homes of his friends’ parents. In 2006, he had a sell-out show at the Spectrum Gallery in London, where most of his paintings were acquired by the David Roberts Art Foundation

Through the Stuckists, Joe finally had an opportunity he craved to work through his early experiences through his art. The more he painted, the further away he became from being involved in crime. 

‘I realised then that I had no need to be doing some of the things I was doing,’ Joe explains. There was no point in me putting my energy in that direction, it was either going to end up with me being dead or in prison fo a long time.  So I slowly turned more to painting than the other criminal stuff and once I started giving my energy to that, it gained its own momentum and it worked out very well for me.’

Joe Machine: My Grandfather Will Fight You
Joe Machine: My Grandfather Will Fight You

Family matters
Joe’s mother was an Ashkenazi Jew and his father was an English Romany Gypsy. They were both from East London originally.  Joe’s great grandfather was a professional bare-knuckle boxer, fighting in a travelling boxing booth owed by the family. When he retired, he became a boxing promoter.

His paternal grandfather was a professional boxer, but he never spoke about his career with Joe.

‘He never talked about violence but I knew it was there because that was his life,’ Joe explains. ‘All my other relations, my cousins, were terrified of him because he had this kind of glowering violence about him. But that never came across with me. He was always kind to me. I was his favourite grandson and I loved him fiercely.’

The subject matter of Joe’s early paintings, his previous criminal activity and his post-jail work as a bouncer on the violent rave and ecstasy scene have caused some commentators to mark him out as a tough guy too.

Joe says they’ve got him completely wrong: ‘I’m not a tough guy. I’ve been involved in violence but whatever I’ve done has been a reaction to the things that I’ve seen. I certainly didn’t feel like a tough guy when I was a kid. I felt vulnerable and that fear of violence has never left me.’

Joe Machine: Diana Dors
Joe Machine: Diana Dors

Spirituality and sucess
Becoming involved with the Medway Poets and then the Stuckists were key steps on the road to a new ‘more holistic’ life for Joe.

In 2000, after exhibiting with the Stuckists, Joe was announced as winner of the Stuckist’s Real Turner Prize show and his painting of Diana Dors, painted in response to a chance meeting with Dors as a child, was used as the cover image for the original Stuckist book. He was gaining recognition as an artist and able to devote more time to painting.

‘It was a big thing for me. I’d gone from seeing all the stuff I’d seen, being in prison, working in situations where I was threatened with guns and knives, to sitting in rooms where I could be at peace, I could paint, and it had a restorative, cathartic element to it,’ Joe says.

Fellow Stuckist, Charles Thomson describes Joe as a very spiritual person and Joe himself talks about his ‘great faith in God’.

‘I’ve always had the sense of the hand of God in what I was doing. Even as a child I knew there was something else, something was there, a very definite presence,’ Joe explains. ‘There was no epiphany or red pill moment, the realisation has gradually crept up on me that it has always been there.  I’m not a religious fanatic. I don’t do organised religion. I’m not born again. But  I speak the truth when I say I don’t believe in God, I know God is real because of my experiences of Him.’

Joe Machine, Edward Lucie-Smith
Joe with Edward Lucie-Smith, Machine Evolution show, 2013

The Stuckist protests against the Turner Prize and the wider art establishment (see previous blog) grabbed the headlines and attracted a lot of publicity for the movement. Many art critics were hostile, but independent art critic Edward Lucie-Smith took an interest in their work and in Joe’s work in particular. He described Joe as his ‘favourite Stuckist’. Lucie-Smith has gone on to hail Joe as ‘one of the most important British Artists’ and ‘the successor to Francis Bacon and William Blake’.

Joe too holds Lucie-Smith in very high regard.

‘There’s nobody like him,’ says Joe. ‘He’s incredible. He’s a legendary art critic and he’s a maverick. Although he works with the art establishment, nobody tells him what to do.’

Joe met Lucie-Smith for the first time at a Stuckist exhibition in 2008, and from 2012, the pair began to collaborate more closely. Lucie-Smith promoted Joe’s work and encouraged him to broaden his artistic horizons.

‘Edward sat me down and said “I like most of your work, but I don’t like all of it”,’ Joe laughs. ‘I think Edward wasn’t very keen on the sailor stuff – the sex and violence – because he thought I was going to be pigeon-holed. He helped me see the potential of working in other areas.’

Joe Machine: God and Tree
Joe Machine: God and Tree

Joe  has since illustrated two volumes of Edward Lucie-Smith’s poems, Making For The Exit and Surviving.

In 2012, Lucie-Smith encouraged Joe to enter the Cork Street Open Exhibition in London. Joe won the Grand Prize for his religious painting God and Tree. The painting shows God standing next to the tree of the knowledge of good and evil, from Genesis. The idea came from some work that Joe had been doing with Charles Thomson about Kabbalah, matters of spirit and meditation, but it was Joe’s son, Joseph, who finally gave him the confidence to paint it.

‘My son said, “You do this stuff so much in your life, why don’t you paint God?”‘ says Joe. ‘I told him, I can’t. I’m not really supposed to depict God. I’m Jewish. But Joseph said, “I don’t think God would mind”. So I did. I took his advice and painted it, and that’s when things really started to take off for me, artistically.’

Joe Machine: Last Blossoms of Spring
Joe Machine: Last Blossoms of Spring

Religion and mythology
Spurred on by his success and supported by Lucie-Smith, Joe gained the confidence to tackle a greater variety of themes in his painting, themes as diverse as the Russian Revolution and landscape paintings, inspired by Kentish woodlands.

In 2013, again supported by Lucie-Smith, Joe held  a solo, retrospective exhibition Machine Evolution, at the Cock ‘n’ Bull Gallery, beneath the Tramshed restaurant in Dalston, featuring some of his Russian Revolution paintings. The restaurant, owned by celebrity chef Mark Hix, recently went into administration.

The Tramshed restaurant

Ironically, the gallery was named after an installation by artist, Damien Hirst, bête noire of the Stuckists. The piece, a Hereford cow and a cockerel preserved in a steel and glass tank of formaldehyde, was on permanent display in the restaurant.

‘The irony wasn’t lost on me,’ Joe laughs, ‘and I think Edward could see it as well!’

 

The exhibition was a great success and, in conjunction with the show, Russian investors brought out a major hardback book of Joe’s work.

Joe Machine, Steve O'Brien
Joe with Steve O’Brien, Brittanic Myths book launch, Mayfair

It was at a private view of Machine Evolution, hosted by The London Magazine  that Joe was introduced to magazine editor, academic and mythographer, Steven O’Brien, who is now his agent.

In 2015, Joe and O’Brien collaborated on a book Britannic Myths  which retold ancient stories from Britain and Ireland through text and painting. The collaboration generated a number of London-based exhibitions of the  paintings included in the book.

Also in 2015, Joe was invited to become artist-in-residence for the Prometheus Project in Trieste, Italy.  This  project,  the brainchild of Italian concert pianist Claudio Crismani and Edward Lucie-Smith, was based around Alexander Scriabin’s last musical work Prometheus: The Poem of Fire, reinterpreting it through music, visual art, literature and history.

‘It was a great time and resulted in three wonderful shows for me,’ Joe recalls.  ‘I had a sailor show but also new paintings of Greek Gods and the myth of Prometheus were exhibited in the Arts Centre at Trieste harbour and at various other venues around Trieste.’

Joe Machine: St Guthlac Assailed by Demons
Joe Machine: St Guthlac Assailed by Demons

Joe now refers to myth as ‘his preferred genre’.

‘Over the years I’ve done so many paintings working through he stuff about sex and violence,’ Joe remarks. ‘But  more recently, my work has moved further and further into religion, spirituality and mythology so that is now about 90 percent of what I do. There’s no way when I was first involved with the Stuckists that I would have painted some of the stuff I’m painting now. I still do the other stuff sometimes, but now I’m more whole than I used to be.’

Joe is now working on a series of 30 paintings showing  scenes from the Arthurian legends for another of Steven O’Brien’s books,  and has been commissioned by mythographer and author, John Matthews, to produce a series of paintings featuring the characters from the old English poem Beowulf, which will be used to illustrate a series of oracle cards.

Joe Machine: Joseph of Arithmethea
Joe Machine: Joseph of Arithmethea

Among his other roles, Steven O’Brien is a curator for the Vatican Arts Trust. Through him Joe has been invited to exhibit a new series of paintings Saints of Britain in the Vatican, Rome and Certosa di Tresulti monestary, Collepardo. The exhibition is planned for 2021, pandemic permitting.

Joe is still astounded by his success. ‘Who would have thought that a boy from the back streets of Kent, with no prospects, no hope, a criminal record, would through art and through his own momentum, propel himself into getting a show in the Vatican,’ he says. ‘And that’s pretty much because I followed my star. I kept painting because it is the only thing that ever helped me. And it’s only by sticking to my guns that I’m in the position I am now.’

Bedtime stories
When Joe first met the Medway Poets it was as a poet, not a painter and he has recently returned to writing, alongside his art.  He still writes poetry and he has recently written that novel. It is called DeadTown Boy and and tells the story of Joe’s childhood up to the age of 18, when he was released from Borstal Young Offenders Secure Training Centre.

But Joe now lives in Somerset with his wife and five children. His current writing project is a novel for children The Invisible Kingdom based on the bedtime stories he made up for them when they were very young.

Joe Machine: The Krays
Joe Machine: The Krays

‘It’s an allegory of World War II, where my children are characters in the story,’ he explains. ‘When I was a kid, my dad used to sit on the end of my bed telling me stories about the Kray twins, who he was friends with in London during the 1960’s. It wasn’t the kind of Rupert the Bear stuff most kids got.’

Joe is trying to use his past experience in a positive way these days, including  through working with charitable groups and young offenders.

‘I have to square my past  with being a father now and doing the right thing by my children,’ Joe reflects. ‘There’s no way you can be be involved in the kind of life I had and maintain a good relationship with your family.’

Now Joe feels positive about the future.

‘It’s wonderful, I do feel very happy and very, very lucky now,’ he concludes. ‘Because I’ve been able to turn around an obsessive, compulsive need as a child to produce work that was based on my experience.  I’ve gone from having to do that to that, to wanting to do that and then absolutely loving doing that. It’s an obsession in another way I suppose, but it’s a good obsession.’

Website
You can see Joe’s work on his website: https://www.joemachineart.com/

His most recent show Unseen Spring was a virtual exhibition with the London Magazine

The Arthurian Cycle exhibition will be at the David Game College, Aldgate, London in November/December

 

 

 

 

 

 

 

 

 

 

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Iron Pier Brewery: The Art of Brewing

Visit Duncan Grant’s gallery

As regular readers of this blog will know,  my art has ended up in places I’d never imagined.

It’s been on fabrics for Liberty London,  https://www.libertylondon.com/a book cover for Faber & Faber, https://www.faber.co.uk/9780571355075-milkman.html pencil cases in Japan and shirts in Russia.  And this week it is appearing on beer cans in Gravesend, courtesy of the Iron Pier Brewery and Taproom https://www.ironpier.beer/

Iron Pier Brewery
I’ve been drinking at the Iron Pier since it opened in 2018 and they’ve hosted a couple of exhibitions of my art.  Tucked behind Perry Street on a small industrial estate, it’s a fantastic place with a great community atmosphere – and the beer is even better!

Iron Pier Brewery: Charlie Venner & James Hayward
Charlie Venner & James Hayward

The brewery is run by head brewer James Hayward, who used to run the Caveman Brewery in Swanscombe http://www.cavemanbrewery.co.uk,  and his business partner Charlie Venner who, previously, ran The Compass Ale House, in Gravesend http://thecompassalehouse.co.uk/ which James used to supply.

At Iron Pier they produce a range of cask , keg and barrel-aged beer to their exacting standardsas they say on their website,  it is ‘lovingly crafted, full-flavoured and perfectly conditioned’. https://www.ironpier.beer/beers

The brewery is named after the Gravesend town pier, which is the oldest surviving cast iron pier in the world. And many of the beers brewed there, such as Rosherville Red and Perry Street Pale,  have names drawn from the local area.

‘We always knew that we wanted to be part of the community in Gravesend,’ says James. ‘So having the taproom on the same site as the brewery gives us a real link to that community. But we also wanted to be a brewery that went beyond the local market. We supply pubs locally and in East London, and we do brewery swaps, where we’ll send our beer up to Yorkshire or Manchester  and they’ll send theirs down to Kent.  Last year , we took our beer out to a beer festival in Germany. And it’s really nice, being in Germany as a brewery from Gravesend.’

Duncan Grant: Brewery
Russell Brewery, Gravesend

Brewing in Gravesend
Iron Pier is the first brewery in Gravesend for  nearly 90 years. In 1932, Russell’s brewery, in West Street – famous for their Shrimp Brand beers – was acquired by the London brewing giants, Truman.  By 1935, brewing had stopped on the site, although it was used as bottling plant for about 50 years after that.

Truman bottling plant, Gravesend
Truman bottling plant, 1950s

If you’re familiar with Gravesend, you can still see evidence of the Russell brewery  down by the River, near Asda.  Most of the old brewery buildings were demolished, but the original maltings – the building where grain is converted into malt for brewing – still survives, although it has been converted into flats now.  The big square section of  The Maltings with its triangular roof was part of the kiln used to heat the barley.

 

Duncan Grant: Hop picking
Duncan Grant: Hop picking

Hops
Hops are a key ingredient of traditional brewing,  and hop-growing has always been an important agricultural activity in Kent, which is still the biggest hop-growing county in the country. At the end of the 19th century there were about 200,000 acres of hop fields in the UK, now there are only about 6,000 acres.

‘It has shrunk pretty much every year from 1897 to 2017 because of lack of demand,’ explains James Hayward. ‘Beer styles change. Most people now drink so-called continental lagers and those don’t use many hops really, so the hop market completely crashed. But it is coming back a bit now because small brewers like us tend to use a lot of local hops.’

Duncan Grant: Hops and blueberries
Duncan Grant: Hops and blueberries

There are many different hop varieties and new hop strains are being bred all the time, in England and in other hop-growing countries like USA and Slovenia. Every month Iron Pier  brew a different Joined at the Hop beer, where an English hop is partnered with a hop from somewhere else.

‘It’s a form or research and development for us, ‘James explains. ‘It gives us a chance to see what works well, and we’ve found a few that we really, really like. There’s a Slovenian hop, Styrian Cardinal, which we used in a Joined at the Hop beer and that is now in our Session IPA.’

Although much farm work is now mechanised, in the UK  hops are still mostly picked by hand as they always have been. I was talking to my mum, who is ninety in a couple of months, about when, as a child, she used to go hop-picking with her family. The Kidd family lived locally to the hop fields so, for them, hopping was a series of day trips over the two or three week harvesting period. But some large hop fields had accommodation on site and families, particularly from East London, used to stay on site to pick.

My mum dug out a couple of battered black and white photos and agreed to talk about her experiences for the blog.  Friend and composer Ian Kirton kindly offered to edit it altogether.  If you like the music, which Ian composed, you can listen here: https://www.pond5.com/royalty-free-music/item/104662981-mind-and-body-gentle-warm-emotive-inspirational-instrumental

Anyway, here is my mum, Kathleen Grant (nee Kidd) reminiscing.

Iron Pier Brewery: Take-away service
Take-away

Thinking outside the taproom
Before the coronavirus emergency, Iron Pier were planning for a busy summer – full tap rooms,  more community events, beer tents at local festivals, as well as providing beer for pubs and festivals across the country. So when lockdown started, pubs closed overnight and summer events were cancelled,  James and Charlie had to come up with a Plan B to keep their business afloat.

Plan B (part 1) was a socially distanced,  takeaway service. If  locals weren’t able to pop out to the taproom or a local pub for a few drinks with  friends, at least they could enjoy a pint or two of Iron Pier beer in the comfort of their own home. And, as James explains, it is all going very well.

Iron Pier Brewery, Gravesend‘When the virus first struck and the pubs were closed we were terrified, because selling our beer to other pubs was such a big part of our business. But our take-away 4-pint and 2-pint carry-kegs are going insanely well – even better than when we had the bar open. We started with two hours on Wednesdays, Fridays, Saturdays and Sundays, but we’ve had to extend Fridays to three hours now because the queues were just getting too big.’

If you fancy a carry out from Iron Pier you’ll find collection times on their Facebook page  https://www.facebook.com/ironpierbeer/

It’s in the can
Plan B (part 2) swung into operation last Tuesday, as Iron Pier started canning four of its beers – Keller QueenSession IPA, Rosherville Red and  Breezy Day IPA – to sell through the takeaway service and its new online shop. https://www.ironpier.beer/cans.  

‘We always had this idea in our heads that we were going to put our beer into cans,’ James explains. ‘It was originally part of our third year plan, but when this all kicked off it was like, well we’re  not making beer for pubs any more so let’s do this canning thing now.’

Iron Pier Brewery, GravesendJames and Charlie and I had already discussed the possibility of putting my artwork on the cans about a year ago, so they were able to move from idea to product really quickly. ‘Yes,’ James laughs. ‘We didn’t need to find a designer, so for us it was just finding somewhere on the can to put our logo so it didn’t get in the way of the artwork and we were done!’

While the beer is brewed on site, Iron Pier brought an external contractor into the brewery to can the beer.  In the future, if the new cans prove popular, the brewery might consider purchasing its own packaging line.

Iron Pier Brewery, GravesendBy the end of Tuesday, the brewery had three out of the four beers ‘in the can’. But there was a small technical hitch with the fourth.

‘A new process in the brewery always involves a bit of a learning curve, and something usually goes wrong,’ James explains. ‘We brewed all four beers for the canning day  but when we began filling the Breezy Day we noticed that we were still pulling through hops from the fermenter, so we decided not to can it that day.’

The team is going to  polish up the Breezy Day  ready for when the canners return in a week or so.  In the meantime, the other three canned beers are for sale. You can buy them in cases, or individually, through the take-away service or via the online shop.

‘We were really happy to see some great dissolved oxygen numbers in the can,’ James says, ‘so the beer should have a decent shelf life, which was the main thing I was worried about.’

Iron Pier Brewery, GravesendIn normal times, Iron Pier would have held a big knees up to launch their new cans, but since these are not normal times, you are invited to a Virtual Launch/Meet the Brewer/ Beer Tasting event, this evening (17th May 2020, @ 7.30 – 8.30pm) hosted by the Admiral’s Arm micropub http://www.admiralsarm.co.uk/  Follow this link for more information: https://www.facebook.com/events/241388767208060/

Hope to see you there. Cheers!

 

You can follow Iron Pier on:
Instagram: https://www.instagram.com/ironpierbeer/
Twitter: https://twitter.com/ironpierbeer
Facebook: https://www.facebook.com/ironpierbeer/

My original ink drawings, as well as digital prints, of the art used on the beer cans and in this blog are available from the gallery on this website. https://www.duncangrantartist.com/shop/

Keller Queen (Small Town #141)
Original ink drawing: https://duncangrantartist.com/product/small-town-141/
Digital print: https://duncangrantartist.com/product/small-town-141-print/ 

Rosherville Red (Small Town #132)
Original ink drawing: https://duncangrantartist.com/product/small-town-132/
Digital print: https://duncangrantartist.com/product/small-town-132-print/

Session IPA (Twenty-eight poplars)
Original ink drawing: https://duncangrantartist.com/product/twenty-eight-poplars/
Digital print: https://duncangrantartist.com/product/twenty-eight-poplars-print/

Breezy Day IPA (Breezy Day)
Original ink drawing: SOLD
Digital print: https://duncangrantartist.com/product/breezy-day-print/

Russell Brewery (Brewery)
Original ink drawing: SOLD
Digital print: https://duncangrantartist.com/product/brewery-print/

Hops and blueberries
Original ink drawing: https://duncangrantartist.com/product/fruit-series-hops-and-blueberries/
Digital print: https://duncangrantartist.com/product/fruit-series-hops-and-blueberries-print/

Hop pickers – SOLD

 

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Celebrating the 50th Anniversary of Vigo RFC

Visit my gallery

When I was a lad, before I went to college, and again during the 80s, I used to play rugby for Vigo RFC https://www.pitchero.com/clubs/vigorfc. I started out playing on the wing and then moved forward as I got older and slower.

Vigo RFC 50th anniversary book
Lineout at Sunset

Well, this year marks the Club’s 50th anniversary and to celebrate that they’ve brought out a limited edition book, charting the history of the club, edited by Trevor Newnham. I was delighted to be asked if I’d do some artwork for the book, based on old photographs. You can see one drawing on the cover, and three others inside.

The club, originally based at the Vigo Inn, near Fairseat in Kent, on the top of the North Downs, has an interesting history. This brief account is based on information from the 50th anniversary book and from Trevor’s article for the Stansted and Fairseat History Society https://stanstedhistory.org/groups-vigo-rfc/ Both contain some fascinating old images.

Rugby wasn’t always the game of choice at The Vigo Inn, formerly called The Upper Drover. Once upon a time, punters used to play ‘daddlums’ a form of table skittles. But everything changed one Sunday lunchtime in 1968 when a group of well-oiled local rugby players – regulars at the pub – came up with the idea that the field at the back of the pub would make a pretty good rugby pitch, and as such would offer ‘an ideal opportunity to combine beer and fitness’. Despite the field in question being ‘none too flat’ and more than somewhat muddy, their beer fuelled vision gradually turned into a plan. There were meetings, a committee and, in 1969, with telegraph poles as goalposts and a disused chicken shed to change in, Vigo RFC was founded. Lillian Ashwell, the pub’s landlady was elected as President – probably the first woman President of a rugby club in England.

Vigo RFC 50th anniversary
Tackle

A couple of players from nearby Gravesend RFC were persuaded to provide some coaching – a necessary first step as many of the prospective players had never touched a rugby ball before. But the team was enthusiastic and willing to learn and most players were soon judged to have ‘mastered basic rugby techniques’ and despite being ‘a little raw in one or two specialist positions, such as hooker’ were ready for fixtures with B teams from other clubs. In their first serious match, away to Deal in 1969, Vigo RFC recorded a ‘resounding’ 3-1 victory.

As the rugby became more serious, the club moved several times. Ten years on, it settled in current home at Swanswood in Harvel, not far fromthe original Vigo Inn.  A club member who was also a builder, supervised the construction of a clubhouse, with the players acting as labourers. And, over the years, through a number of fundraising initiatives, the clubhouse was improved and floodlights were installed.

Since then, the club has gone from strength to strength. It now fields four adult teams, a juniors team, and two junior mini-rugby teams.

Vigo RFC 50th anniversary
Try

As Trevor Newnham writes:
From the grassiest (and muddiest) of grassroots, the Club – Vigo RFC – came into being.  A pub side at heart, a determination to be independent of any brewer, professionalism, and a club that would offer a warm home to anyone who loves this great game.’

The 50th Anniversary Book: Vigo Rugby Football Club 1969-2019 is available now from the club at a cost of £10.

The originals of my drawings for the book and digital prints are available on my website. Just follow the links below: