Me enjoying Wimbledon!🎾

CV

SHELLEY THEODORE Born in Brisbane, Australia Lives and works in London, Barcelona and France https://shelleytheodore.tumblr.com/ https://www.axisweb.org/p/shelleytheodore/ EDUCATION 2012 MA Visual Art (Fine Art), Camberwell College of Art, University of the Arts, London 1995 Bachelor of Fine Art (Hons), Goldsmiths College, University of London 1992 Dept of Continuing Education, Goldsmiths College, University of London, Certificate in Art 1980 Bachelor of Social Work, University of Queensland, Australia SELECTED EXHIBITIONS AND PUBLICATIONS 2022 Artist Feature Special Issue: Best Artists of 2022 Magazine 43, Hong Kong 2022 Magazine 43 Film Friday featured artist April 2022 https://magazine43.substack.com 2021 Deptford X Festival, Art in the open Supported Application Guide shapeslewisham introducing@shelley_theodore 23 March 2021 Deptford London 2021 Post Analogue Labyrinth IV, virtual exhibition, https://www.artsteps.com/view/ 6092eeaca33cc06fe89a823f 2019 Post Analogue Labyrinth Ill, as part of DEPTFORD X FRINGE, AAJA Deptford 2018 Post Analogue Labyrinth 11, Sister Midnight Records 4 Tanners Hill London Gaze, Axisweb: Contemporary Art UK Network, online exhibition Aesthetica Issue 81, p157, Artists' Directory, Published on Jan 24,2018 2017 Drawing Open, 26 -28 May, No Format Gallery, Arch 29, Rolt Street, Deptford 2016 Prison Drawing Project, Dean Road Prison, Scarborough, UK Artrooms Fair 2016, Melia Whitehouse Hotel, London 2015 Uncertain States Annual, Mile End Art Pavilion, Mile End 2014 Pala, an online digital program of artist's film and video works curated by Laura Mansfield 2013 Bloomberg New Contemporaries 2013, Spike Island, Bristol, and ICA, London 8 STUDIOS FROM HERE, Faircharm Studios, Deptford Postcard From My Studio, Acme Project Space 44 Bonner Road, Bethnal Green, London 2012 Crash OPEN, Charlie Dutton Gallery, 1a Princeton Street, London The Salon Art Prize Exhibition 2012, Matt Roberts Art, 25b Vyner Street, London Jerwood Drawing Prize Exhibition 2012, Jerwood Space, London No Now, Space Station Sixty Five, Kennington Bend over Shirley, Beaconsfield Contemporary Art 2011 CCW Artist Moving Image, HMV Curzon, Wimbledon 'Chain letter' worldwide exhibition 2011, GIBSMIR family, Zurich, Switzerland. Flash in the Pan, curated by Naomi Sidefin and David Crawford, Beaconsfield Contemporary Art The Unsung Heroes of the studio, ASYLUM, The Chapel, Caroline Gardens, Peckham 2010 Peckham Space Open, Peckham Space, Peckham Deptford X Fringe Award, Deptford X Fringe Nunhead Open Art Exhibition, The Surgery, Nunhead 2009 Creekside Open, selected by Mark Wallinger, APT Gallery, Deptford Creekside Open, selected by Jenni Lomax, APT Gallery, Deptford 2008 London Art Fair, Islington, Beverley Knowles Fine Art 2007 London Art Fair, Islington, Beverley Knowles Fine Art RESIDENCIES 2022 Studio Residency, San Quirze Safaja, Barcelona 2021 Photography Workshop with Architect Lisa Harmey and architecture students University of Cardiff, UK 2015 'Backs to the Future' Residency, FIVE YEARS 66 Richmond Studios, 8 Andrews Road, E84QN 2014 2014 LUX Critical forum, London 2012 Gasworks Curatorial Workshop, Gasworks 2011 Urban fabric 2 (UF2) Paradox Conference, Crawford College of Art and Design, Cork, Ireland 'Sculptural Drawing Collaboration', The Woodmill Project Space, Bermondsey

Clary Salandy Is Keeping The History of Carnival Alive

Arts & Culture - Reform The Funk - August 31st 2020 

Clary Salandy is one of the founders of Mahogany Carnival Design set up in 1989 by her and her husband, Michael Ramdeen aka Speedy. As the name would suggest, the company designs Carnival costumes, in the art form of “Mas Making” and they are known for their larger than life designs. The pair are both native to Trinidad and are designers in their own right; Clary studied at The Wimbledon School of Art and worked at Central St Martin’s in London, whilst Speedy studied Structural Engineering. They set up shop in Harlesden, North West London in 1996 and have been there ever since. “We’re very inspired by the art form and so we do everything we can to be as innovative as we can in our ideas [and] techniques.

That's what Speedy is really excellent at, he’s an amazing engineer.” Mahogany's costumes are known for their extravagance and large scale, with costumes being up to 15 ft tall with all kinds of tricky mechanisms such as opening and closing, whilst being agile enough to be worn and maneuvered.“He’s very good at that sort of thing, he loves working like that and I love giving him complicated things to do. My work comes with lightness, with movement”, in the 50s they would use wire to make the costumes but foam was the material of the 70’s. “Now we use foam and fiberglass [so it’s] lighter. Costumes became different because of that”.

The Carnival costumes we see today are typically less structured, and consist mostly of feathers and beautiful adornments, this is known in the Caribbean as Pretty Mas. “One of the things about Carnival is it's about being free so I don't have the right to tell someone what their freedom looks like [but] I would not do it myself because I have read my history”. Clary wrote her dissertation on the ‘History of Trinidad Carnival’ and fully realised the dark history of Carnival which seems so distant to the jubilation we see on the streets of London come Bank Holiday August.

Carnival in the Caribbean began as an act of liberation. Originally, a religious festivity, an act of jolly and feasting before lent, when the traditions were brought to the Caribbean during the time of slavery and colonism, Black people were forbidden from taking part. Following the emancipation from slavery, Black people took to the street in celebration and masqueraded, renacting the horrors that they faced during their enslavement. “They had characters, with speeches, monologues and all kinds of things, it was really fascinating, but made it really clear to me, how lucky I am to be born when I was born, and I needed to pay homage to those people, and Carnival isn't about fun it was about collaboration of those people, that’s the point”.

“The first Carnival was the Carnival of Fire, they had a festival called Canboulay”. When fires broke out on plantations, the enslaved were forced into the fields to rescue the surrounding canes before they were burned and ruined. This act was reenacted at the first carnival, known as the Cannes Brûlées, meaning burnt canes in French, which later became known as Canboulay. The British authorities who ruled Trinidad at this time wanted to squash the expression of Black people on the island as well as any trace of African influence and in 1881, Canboulay was banned, leading to riots between Black People and British police.

Of course, the origin of Notting Hill Carnival is not worlds apart from this. Following the destruction of World War II, hundreds of thousands of Commonwealth citizens, many of these from the Caribbean, were invited to Britain to work; on their arrival, they were met with racial hostility and intolerance. Not only were many right wing political parties openly promoting anti-immigration and white dominance, but there was ongoing violence from the Teddy Boys, a group of white working class youth, notorious for their racism towards Black migrants in Notting Hill. In August 1958, what is now known as the Notting Hill Race Riots began. Mobs of up to 400 white people stormed the Caribbean residents of the area, with petrol bombs, milk bottles being used as missiles, iron bars and butchers knives. These acts of terror persisted continuously for one week.

As a direct response, Claudia Jones, who is often referred to as the mother of Notting Hill Carnival, organised events to celebrate Caribbean culture in the face of the hate from the white racists. A "Caribbean Carnival" was held on 30 January 1959 in St Pancras Town Hall. In 1966 Notting Hill Carnival was born. Clary is extremely educated on the origins of Carnival and is passionate about keeping these stories alive. “That is the thing that’s really important about Carnival and the role we all have to play in carnival. How can I ignore that?''.

Clary shows me a headdress she designed, with a spiral of eyes that represent the many that have been murdered in cold blood. From Kelso Cochrane (1959), to Stephen Lawrence (1993), to George Floyd (2020). Clary has a political voice within her work, something that is not that common in today’s Carnival band leaders. “Some bands are led by somebody that's a band leader, they're not an artist… an artist, has a different approach. A band leader isn't creative, he’s an organiser, he's an administrator, he’ll go and find a designer somewhere and that's where the fun becomes more [important]”.

When Mahogany was set up, there was prevalence around the art form of Carnival design; “you could get a grant of £400 from the arts council, there was a system that was set up for young designers and a development course where you could go and learn how to make a backpack”. This dedication of the art is something that Clary would love to see put back in the future of Carnival.

There have of course been a number of changes to Notting Hill Carnival since Clary’s early days. Not only were the bands much smaller, with perhaps 7 people per section and 30 people in a band but it was much more Caribbean led and dominated by Caribbean Culture. Whilst that influence still exists it has definitely become more London centric. Clary also recalls the spectacularity of Childrens Day, the parade that takes place on Sunday. “Childrens day used to be fantastic, lots of children [and] schools participating. There are schools participating now but not like they did before”. It's Important to pass on the history and traditions of Carnival to the next generation, she says and has been orchestrating carnival design workshops even prior to the creation of Mahogany. “We’re being creative and teaching young people [and] making sure we’re putting a strong message out”.

The hard work has paid off with the work and dedication of Mahogany Carnival Designs being recognised and appreciated all over the world. So much so that when I ask Clary what her proudest moment is, she struggles to pin one down “Oh my gosh!”, she exclaims, “that’s a hard question”. On a personal level, it’s seeing the next generation, her grandchildren, taking part in Carnival in costume, continuing down the customs. On a career level, she manages to narrow it down to two: performing in front of Buckingham Palace for the Olympics Handover Ceremony, “in front of the freaking queen!” and the Millennium Celebration in Singapore. “Could you imagine? We’re the finale in Singapore at their Millennium Celebration Parade! That’s a lovely affirmation of liking our stuff”.

Follow Mahogany Carnival on Twitter here and Instagram @mahoganycarnival.

Virtual Notting Hill Carnival is streaming at www.nhcarnival.org

Credits: Written by Rochelle Thomas / Photography: Derrick Kakembo  Set Design:  Amelia Tavenner .

Photographs taken on the Leica SL2.

https://www.reformthefunk.com/features/clary-salandy-is-keeping-the-history-of-carnival-alive

12 September 2019

After our Isle of Man Festival of Motorcycling guests had departed in early September, we needed a break. After all, there is a limit to how many days in a row at our age we can get up early to make breakfast for four guests when virtually the rest of the year we are not used to such an early rise!

So, we decided to have a short UK break to an area we had not been to before and that did not involve much walking.

Little Moreton Hall

As what we had planned was not until the next day, it allowed us to take advantage of the National Trust properties in the North West of England and we settled on Little Moreton Hall just outside Congleton, Cheshire.

The Hall was built by the Moreton family in the 1500s and took over a hundred years to complete, improve and extend the property but you can see from the photos that it has a few structural issues but hopefully in the hands of the National Trust, these will not result in a collapse.

The inner courtyard

Behind the entrance gate (over the moat by way of a drawbridge) is a small courtyard off which are the downstairs rooms. Lots to see here including the pantry, a wonderful stone fireplace and some ancient wallpaper.

One part of the upstairs hall (The Long Gallery) was used in a recent art exhibition by letting used “Wimbledon” tennis balls roll down the uneven floor surface resulting in them all rolling to one side of the structure.

The resultant film is on a loop in the hall and you can have a go yourself – very interactive.

The camera was straight for this, it is the building that is crooked

As with many National trust buildings, volunteers help with interpretation, giving history lessons and practical commentary and this was no exception.

There were even dressing up clothes for children to use when they came a school parties.

The gardens outside are not extensive but are worth a stroll around and at the time of our visit, the archway probably could have done with a haircut. But there is water around which allows wildlife to thrive.

Archway to the gardens

It was now down to Shrewsbury for our overnight and at the recommendation of the hotel, a great evening meal at the Peackock Inn which is a short drive away.

I had booked our tickets on line before we left home and tried to pick them up at the station that evening to save time but there was only one person at the ticket desk and I had to buy Discount Railcards so couldn’t use the machine.

After a 25 minute wait whilst one person was being served, I gave up.

13 September 2019

Having arrived earlier at Shrewsbury Station than planned, I managed to get the Railcards and tickets without any delays and waited for our train to Swansea via Llanelli.

You couldn’t miss this house.

I had read that the train was now only a single coach so hopefully there would be enough seats as reservations were not possible on this service. If it is only a one coach is it a train or a coach ride?

The train arrives and many people get off including some with bikes. Fortunately there are enough seats, the carriage being probably three quarters to 7/8ths full. But are they all going the whole way which is 32 stations to Llanelli and another couple onwards to Swansea?

As we leave Shrewsbury, more or less on time, we vere off to the right and then see the MidWales line to Aberystwyth disapear to the right and we make our way South Westwards and quickly into Wales after Knighton, the 7th station on the line.

Welsh countryside

Whilst initially the views aren’t great as many trees obscure the views, some trees not being cut back far enough to avoid hitting the train, these soon disappear to reveal rolling hills, sheep, golf courses and in general, wonderful countryside.

Many of the stations on the line are request stops where the train has to slow down in case anyone wants to get on.

Some of these are very well used as locals go about their day-to-day business visiting friends or shopping in nearby larger villages. It is indeed a lifeline for many remote communities.

These passengers have already told the guard who has advised the driver that a stop is required.

Stops allow a few photographs to be taken from the train but trying to capture decent photographs from a train moving at about 40 – 50 mph is somewhat difficult.  the picture above of the yellow house is a case in point.

As most of the journey is single track, there has to be some passing places here and there to allow northbound trains to pass.

Llandrindod Wells Signal Box

One of these passing places is at Llandrindod Wells where we are told, the train has to wait for 20 minutes to allow the northbound train to pass.  Just time for a coffee the guard tells us but what he didn’t tell us is the awful taste of the coffee bought from the nearby shop – not to be recommended.

Not sure if the signal box is now used, as many lines are signalled using modern technology but certainly the exterior of the signal box needs some TLC.

We are off again past even more spectacular countryside and ever increasingly difficult station names such as Llangammarch, Llanwrtyd and Cynghordy.

I hope the locals know how to pronounce this

One station name is easy to pronounce and probably only exists now to allow walkers, cyclists and ramblers access to the magnificent countryside – Sugar Loaf.

It is named after the nearby hill and has a claim to fame as it was at one time the least used station in Wales.

In 2017, only 228 passengers used the station but by the following year this had risen to 1824 following some publicity on, amongst other media outlets, YouTube.

Unexpectedly, the train stops just before the junction with main line at Bynea and after a few minutes we are told of a points failure which is preventing us going forward.

Engineers are on their way we are told. I must say, during the 40 minute wait we were kept updated regularly but by the time we got to Llanelli the information had ceased.

Bridge over the River Towy

Eventually, we establish that the train was being terminated there instead of going on (well backwards actually) to Swansea & we had to cross the bridge to the other side and catch a train to Swansea where we arrive 70 minutes late and thus have little time to get refreshments and relax as our onward journey is due to leave in 20 minutes time and even then was subject to a very late platform change.

Our onward journey was on a separate ticket and back to Shrewsbury via Hereford and we were somewhat glad we had reserved seats as the train was crowded to standing room only as far as Newport although thinned out after Cwmbran with commuters from Cardiff returning home.

Cody does love the fish

Back to our hotel and we go back to the Peacock Inn for another evening meal, just as good as last night’s. It arrived speedily as well which is what we wanted as we were both somewhat tired after the day’s travel.

Off to see friends John & Deirdre tomorrow then to see Flic and Cody for a few hours. We met them at Henry Street Garden Centre just outside Reading where Cody loves to watch the fish.

For some reason (probably to do with the two tickets being photgraphed on one photo) Transport for Wales would only refund one of the tickets for the late arrival of our train but that is better than nothing.

Little Moreton Hall and the Central Wales Rail Line 12 September 2019 After our Isle of Man Festival of Motorcycling guests had departed in early September, we needed a break.

Francesco Molinari is happy to chase a major repeat in a minor key at the Open Championship

After a few years of the strange and beautiful, when it is tied to a jet ski courtesy of Henrik Stenson, Francesco Molinari.

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Of course, there are one or two barolos of drunk, and perhaps a bottle or two of the tignanello that Boris Johnson pays out. But nothing but the original purpose of the jar this time. Molinari is a man who likes to visit museums, and he enjoyed watching the piece of sports treasure that has adorned his house in London in the past year.

And what a year. Some Champion Golfers have to deal with the aftermath of that moment on the 18th green when they are announced this way. Molinari went from Carnoustie to Paris without a break in his imperious step, and became a Ryder Cup popular hero as the first European ever to win five of the five games. In March he won the Arnold Palmer tournament in Bay Hill with one of the big final rounds of the year.

<img id = "i-6da0b2d1ccf8a0af" src = "https://ift.tt/2LMVd4C -0-image-a-4_1563136771171.jpg "height =" 423 "width =" 634 "alt =" <img id = "i-6da0b2d1ccf8a0af" src = "https://ift.tt/2Y6ClkB 2019/07/14/21 / 16044066-0-image-a-4_1563136771171.jpg "height =" 423 "width =" 634 "alt =" Francesco Molinari from Italy kisses the Bordeaux jug after the Open in Carnoustie in 2018

Francesco Molinari from Italy kisses the Bordeaux jug after winning the Open in Carnoustie in 2018

In April it seemed that a green jacket would hang next to the Claret Jug until a late collapse at Augusta Tiger Woods to write the sports story of the year.

Molinari did it all without becoming too high-profile, still able to walk through the streets of the capital without attracting attention.

& # 39; Perhaps part of it is my personality, and it doesn't matter to be in the spotlight, & # 39; he said. & # 39; Partly being Italian. An American or British player who wins the Open gets more attention.

& # 39; Of course I had my moments. I loved it when I walked through the station in Paris after the Ryder Cup and everyone stopped what they did to applaud. Those things that you cherish and never forget. But it can be good if there is less external pressure. I don't mind at all. "It is in line with that belief that instead of playing in Ireland and Scotland for the last two weeks in the final round of honor, he practiced at the Wisley club in Surrey

]

Francesco Molinari is on July 8, 2019 in the Royal Box at Wimbledon "

Francesco Molinari sits in the Royal Box at Wimbledon on July 8, 2019 Francesco Molinari sits in the Royal Box at Wimbledon on July 8, 2019

& # 39; I know it will go to the Open if the defending champion will be a different experience and I wanted to save as much energy as possible, & # 39; he explained.

I played with Darren Clarke at the Irish Open in Portrush in 2012, and the atmosphere was incredible. This time I want to use the energy of the crowd, like I did last year at the Open and the Ryder Cup.

Molinari & # 39; s has disappeared since the disappointment about missing the Masters.

Had the fact. It was a tournament that belonged to him to win or lose, and it proved the latter when he found the water twice in the backseat nine in Augusta, after having been virtually flawless until then. he still had the Claret Jug to watch to reduce the pain? Interestingly, Molinari thinks the opposite. & # 39; I had proven myself that I could win a major, so I made the disappointment a bit bigger than not being able to close it, & # 39; I confessed. & # 39; In sports it is never easy to take this way and it did not linger. But we have analyzed it sufficiently, it's time to move on and put myself in a position to do better. "

& # 39; Wow, what an experience that was! & # 39 ;, said the 36-year-old. & # 39; It was a huge shock from Italy. Turin is one of the most protected places against the wind surrounded by the Alps, so I was not exposed to that side of the game growing up. Suddenly you are at Home of Golf and you are dealing with 25 mph wind. It was difficult in the beginning, but I learned it. I certainly showed what he learned last year, under the tutelage of his three English coaches – Denis Pugh (long race), Phil Kenyon (putting) and Dave Alred (mental approach)

When I was the last 36 holes in Carnoustie complete without a bogey, I distanced myself from Tiger Woods, Rory McIlroy and Justin Rose. & # 39; To be honest, things are not as good as that week, & # 39; he said. & # 39; But improvement is not a straight line. I come there. So let's see what happens. I enjoyed being the face of the Open and maybe it's not over yet.

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