< Previous20 LINCOLNSHIRETODAYHOMESHome There’s truth in the notion that homes are livingthings, with empty properties fallen in ruin anddisarray. Buildings are what we make of them and,during summer, the windows and double doors willbe thrown open, lighter sheets and spreads adornour furniture and pastel shades are king. But as wemove into autumn, with the shorter days and colderweather, our homes will have to adapt. The beautiful burgundy and tawny shades thatcome with the turning leaves bring with it an entirecolour wheel to explore. This time of year, interiordesigners take advantage of the bold moody end ofthe spectrum. It’ll come as no surprise there’ll also bea return to heavy, more natural materials such aswool. Fond memories of autumn are wrapped up infeelings of comfort, from being swathed in a blanketto sitting beside the fire. It is the season of comfort,and your interior design should reflect that. 1220-21_Layout 1 18/09/2017 13:04 Page 1LINCOLNSHIRETODAY21HOMEScomforts1) The gorgeous lodge interior from Dunelmexudes the cosiness of country living or thewarmth and welcome of hygge. 2) These luxurious throws from Atelier Lane aregrand enough to get lost in and warm enoughto keep the mightiest of drafts at bay. Perfectfor reading under, or just snuggling up in frontof the fire. 3) Loaf maintain that its Slowcoach love seat isone of the comfiest it’s ever created, with theintent of making a sofa for sitting in rather thanon. 4) This adorable side table from The FrenchBedroom Co is a charming addition with winteron its way and, with Christmas closer than wethink, it won’t look at all out of place. 5) This beautiful birdhouse from BabatudeBoutique will delight the little ones, whileadding a touch of the outdoors inside. 6) The staircase effect pattern adds acontemporary spin to these handmade combedwoollen cushions from MiaFleur, which are justbegging to be touched. 345620-21_Layout 1 18/09/2017 13:04 Page 222 LINCOLNSHIRETODAYARTISTIC LINCOLNSHIRE For some, art may seem theantithesis of capitalistconsumerism and everythingcorporate. Instead it stands forliberty, celebration and offeringa critical look into the humanpsyche. But as far back ashistorical records stretch, art hasbeen as much an enterprise as acreative outlet. Painters, sculptors andpotters alike lined their coffers withcommissions, and today’s artists thrive onmedia exposure, evolving as much withthe times as their own works. But for allthat, art creates a dialogue betweencreator and observer. Art publishers are irreplaceable in thestock, trade and distribution of artworks,both original and reprinted. Without this,the walls in our homes and gallerieswould be barer and all the worse for it.Washington Green brings together someof the finest painters and most collectableartists in the contemporary art world. It ispart of the Halycon Fine Art Groupwhich, for the last 35 years, hasspecialised in representing anddeveloping the foremost painters andsculptors. The award-winning publisher utilises anetwork of galleries across the UK.retailing and the connotationsthat come with it. It emphasisesthe staging of exhibitions andpromotions. Collectors can alsoenjoy regular invitations,information and updates on allof their activities. And that saysnothing about the artiststhemselves. Washington Green’s slew of talent maybe diverse in their style and subjects, butall share the unique position of beingamong the finest in their respective fields.The publisher counts Rolling Stonesguitarist Ronnie Wood among itsesteemed artists, as well as Bob Dylan,who’s self-portraits offer an intimateglimpse into the troubadour’s life andmind. Other artists include Paul Corfield, BobBarker, Jeff Rowland, Richard Rowan andJohn Wilson – who we profiled in ourJanuary 2017 issue. Lincolnshire artistsalso get a look in to, with Stamfordnative Laurence Coulson and Louth’s ownPeter and Jayne Smith. As the only stockist of WashingtonGreen’s originals and limited editions inLincolnshire, the Little Red Galleryremains a keystone of the county’s artculture. Lincolnshire’s own Little Red Gallery hasthe honour of being the county’s onlyestablishment to stock works from thepublisher’s impressive roster. WashingtonGreen translates original works into finequality collectable limited editions andsculpture. This process is a uniquemarriage between publisher and artist,comparable to the singular bond betweenrecord producer and musician. Throughthis pairing and pooling of creativetalents, the resulting editions sell outupon release to a growing number ofcollectors. As part of its ongoing mission toboost awareness of its artists,Washington Green offers original artalongside limited editions through itsnetwork of Partnership Galleries – suchas the Little Red Gallery. Theseestablishments break down and gobeyond the barriers of traditional artCreate,connectand collect Art publishers help connectcollectors to creators with originalpieces and limited editions.Washington Green is one suchpublisher who counts some ofthe nation’s best and brightesttalents among its clients. 22-23_Layout 1 18/09/2017 12:46 Page 1LINCOLNSHIRETODAY23THE LITTLE REDGALLERYLove art? Then we’d love to meet you, please call in for a cup of tea and a chat.The Little Red Gallery are feeling ‘Love’ with a fantastic range of pieces and perfect gift ideas.8 Bailgate Lincoln LN1 3AE01522 5891348 St Mary’s Hill, Stamford, PE9 2DPart@thelittleredgallery.co.ukwww.thelittleredgallery.co.ukARTISTIC LINCOLNSHIRE by Bob Barkerby Craig Davisonby Jayne Smithby Jeff Rowlandby Ronnie Woodby Richard Rowanby John Myattby Peter Smithby Laurence Coulson22-23_Layout 1 18/09/2017 12:46 Page 2PHOTOS: STUART WILDE PHOTOGRAPHY LTD Sixteen year old Amelia Britton is already making headway in herburgeoning journey as an artist. We sat down to discuss hercreative process, inspirations and support from schools. Art inSevolution 24-25_Layout 1 18/09/2017 12:48 Page 1LINCOLNSHIRETODAY25ARTISTIC LINCOLNSHIREo often art manifests itself inadolescence; a nucleus ofcreative talent that unfurls and evolvesover a lifetime. Indeed, many of history’sbest loved talents have gone above andbeyond their contemporaries barely intotheir teenage years. For Amelia Britton, who lives in a villagenear Spalding, inspiration arrived earlyand has guided her into her mid-teens. Atonly sixteen, she has already built up animpressive portfolio of pieces. It was agedtwelve, though, that Amelia first began tothink about art as a serious creativeoutlet. It was at this impressionable agethat she became fascinated with theBaroque period, as well as drawinginspiration from the Pre-Raphaelites. Sincethen, she has discovered and explored aplethora of other movements and periodsthat intrigue and inspire. It’s perhaps this hunger for the work ofothers that best categorises her work. Thepieces we’ve been able to see areamorphous, coalescing in form and styleas they touch and span art bothcontemporary and classical. “In every artwork I create, I’m alwaysdrawing inspiration from other artists,”Amelia tells us. “I am constantly finding,researching and being influenced byothers’ work.”Scholars and practitioners alike stillargue whether the artistic urge is innate,or something discovered. What we canagree on is that there usually comes somedecisive moment in life, some creativeepiphany where everythingelse seems secondary.For Amelia, it was hergrandma. “When I was little I’dsleep over at her housefor days at a time withher big tubs of ‘arty-crafty’ things,” sheexplains. “We’d spend thedays decorating the dogwith glitter, playing with her sewingmachines and making funny costumesand big feathery angel wings. That wasdefinitely where it started.” It might be a truism, but art issubjective. This goes as much forinterpretation as the creative processbehind it. While one artist might wish toexplore form, another might want tocapture the primal majesty of some greatpredator on the African plains. In Amelia’scase, her pieces are about capturing amood and fixing it in paint. Conveyingthis mood is critical to the overall successand authenticity of her work, but it’s notalways successful. Amelia tells us that she’sscrapped great swathes of drafts untilshe’s entirely happy with the end result. “I want to convey the messages in myart accurately, and provoke a specificreaction in each piece,” she says. “Thistakes a lot of time and planning, and I’vebeen known to throw out pieces if Ihaven’t achieved the feeling I wanted tocreate, because for me that’s what art isabout.”So many of the artists we’ve spoken toover the years haveconfessed to beingconfronted by negativityabout their chosenprofession. So the clichégoes that there’s no moneyto be made in art. Or, atthe very least, until you’redead. By being so young,Amelia is in a uniqueposition, faced with thisprospect, but also able tobe the architect of her own destiny. Evenat 16, she is pragmatic when it comes toher career and future prospects. “I think that it’s only once you spendtime working or gaining workingexperience across the creative field thatyou begin to realise how manyopportunities and career paths art canlead you towards,” she tells us.If there is a societal bias towards artcareers, then perhaps our schoolsshoulder some of the blame. By her ownadmission, Amelia is “lucky to be able togo to a great school, which aims tosupport and bring out the emergingtalent in all of its pupils”. However, she isquick to add that it’s the extra effort thatteachers put in outside of the curriculumthat makes the difference. As Ameliaexplains: “I believe that while emergingtalent needs supporting by our schools,this can only really get you so far; the resthas to be self-driven. If you can’t bebothered putting in extra effort yourselfthen why is that the school’s problem?”To budding artists, Amelia has simplebut sage advice: “Definitely to keeppractising what you do best, and stickwith it no matter what. It’s lots of workbut that’s the secret to success. Also, don’ttry to change what you do to increaseyour sales or acceptance – immediateapproval doesn’t mean lasting art.”With her whole future ahead of her,Amelia is only just beginning her journeyas an artist. In the coming years she plansto integrate into the fertile art sceneacross Lincolnshire, as well as pursuingopportunities to share her work withpeople. S24-25_Layout 1 18/09/2017 12:48 Page 226 LINCOLNSHIRETODAYGARDENSThis unique reader’s garden is a mixand match of formal and informal areas.With its mixed borders, sunken garden,natural pond area, a flower meadow, awalled gravel garden, and an enormouschess set looking like it just arrived fromthe Mad Hatters tea party, this is surely agarden like no other. Huge double borders packed withherbaceous perennials, roses and acountless variety of trees and shrubs allcome together to offer an abundance ofcolours and scents as we stroll through its3 acres.This month we pay a visit toPam and Mark Tatam gardenin Harpswell, near Hemswell. Asked how long the couple have livedat Harpswell, Pam laughs and explains,“Mark has lived here all his life. Theproperty has been in his family for manyyears -we met back when I was auniversity lecturer and the rest, as theysay, is history!”She adds, “We used to run a nurseryhere too, until a few years ago, but wewanted to take things a little easier anddevelop the garden a bit more, andwhilst we enjoyed that it was very timeconsuming so we decided it was time toclose it and concentrate more on whatwe love doing best.” Pam’s passion for the garden is evident,as she shows me around the wonderfulborders you can just about feel herenthusiasm. She says: “It’s amazing howthe light changes the look of the bordersand plants throughout the day - don’ttake my word for it, feel free to pop backany morning when the sun is just rising orat different times and it’ll look differentagain.” An offer which we take her up on,over the next week or two, amidst themany different weather fronts that werethrown at us here in the county. Gardenersgrand design26-29_Layout 1 19/09/2017 08:55 Page 1LINCOLNSHIRETODAY27GARDENSHer own personal favourite area, whenthe sun is high, is the woodland area.“Mark and I love the dappled shade hereon bright sunny days.” And it’s easy tosee why as we take respite from the heatof the sun.“As we’re not on call for the nurseryany more, we find we can really set tointo the garden too, and that’s given riseto our latest project, which is themedieval moat area that we’retransforming into a wild meadowgarden.” Intrigued, Pam shows me around thisarea a short stroll from the garden and Ihave to say it strikes me as an enormoustask, but I can tell from Pam’s expressionand her enthusiasm that she has a clearvision for the area. And, sure enough, asshe shows me the work in progress, Istart to get a glimpse of the future. What looked like an overgrown jungleof nettles and grass from where we firststood, now reveals a well-stocked pondwith its own beach style shore withseating area making it the perfect placeto relax. Pam and Mark have clearlymade a great strides in taming this ratherwild area, but keeping it very natural inthe process. “The moat and the remains of the wallhere date back to the late 16th or 17thcentury when the Whichcote familyowned the great Hall. Sadly, the buildingfell into disrepair and as the tale goes,locals were allowed to come and grabpieces of the property for their ownhomes. Fortunately, before it wasdemolished in the mid 19th century, theowners commissioned a painting by the29 Á26-29_Layout 1 19/09/2017 08:55 Page 226-29_Layout 1 19/09/2017 08:55 Page 3LINCOLNSHIRETODAY29GARDENSartist Nattes so we get someimpression of its stature.” As we stroll back towardsthe garden, it’s lovely to seethe butterfly’s and beesattracted to this area and asPam explains, “We get somany wild birds and otherforms of wildlife here, the trickis though trying to stop therabbits getting into thegarden. Something we haven’tyet .mastered” Asked how many hours thecouple spend maintaining thegarden and all its ‘rooms’, Pamquips: “Not nearly enough Iguess, but I couldn’t hazard a guess at thenumbers. I’ll be strolling through and seea weed and pluck it or I’ll see a plant thatneeds staking or deadheading and just doit instinctively – we can’t take full creditthough as we have help once or twice aweek too, which helps enormously.” “As you can see, even with the mulcheswe use, and we get masses of these froma local tree surgeon, the weeds stillmanage to find their way in, so it’s aconstant job keeping them at bay. But,that’s just part of gardening,” she says,smiling.Nothing has been forgotten in thisgarden it seems, every human sense istapped into to appeal to our sense ofsight, smell and sound. Take for instancethe wonderful water feature in the pondby the sunken garden, the lavendersgrowing in profusion underthe pergola and the variety oftextures underfoot as wewander from one ‘room’ toanother. Then there’s thewonderfully forged iron gates,railings and arches which keepyou looking this way thenthat.” In fact, as we visitedagain later that week to takemore photographs at differenttimes of the day, we we’d stillspot something we hadn’tseen the first time around. Our tour finally takes usthrough a courtyard, with itsown rill, and into a sectionwhich used to have tiers upon tiers ofplants for sale. You wouldn’t think sonow, with its raised beds and treesforming a wonderfully relaxed area andconcluding our tour by the house.This is certainly a garden full of surprisewith some of the most wonderful vistas,wild semi-woodland area and plantingthat is sure to inspire readers should youget the chance to visit. 26-29_Layout 1 19/09/2017 08:55 Page 4Next >