Kettle’s Yard: a reflection

I recently visited Kettle’s Yard in Cambridge, UK.  Kettle’s Yard was the home of Jim and Helen Ede during 1958 to 1973 . Jim had been a curator at the Tate Gallery in London 1920-30s.  Collecting and curating art and nature in his home, became his cure for undiagnosed PTSD brought on by the Great War.  He became a patron, collector and buyer of works by then unknown (and some famous) artists- paintings by Ben and Winifred Nicholson, Alfred Wallis, Christopher Wood, David Jones and Joan Miró, as well as sculptures by Henri Gaudier-Brzeska, Constantin Brancusi, Henry Moore and Barbara Hepworth.

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This work, called ‘Bird swallows a fish’ by Henri Gaudier-Brzeska, made a profound impression on me. Very pertinent for our ecological crisis.

Jim did not distinguish between high art, naive art, and nature.  There are no labels, so the visitor enjoys the work as it is.  Surprisingly for a curator’s home, there no curatorial statements either.  Alongside carefully positioned valued artworks, we find broken and old furniture, glass, ceramics and natural objects. The aim was to create creating a harmonic whole, not perfection. He was influenced by his visit to India after the war and his work reflects his interests in Eastern religions and folk art.  He invited students for talks at the end of each term and in the end, left the house to Cambridge University.  He meant this humble home to be neither ‘an art gallery or museum, nor … simply a collection of works of art reflecting my taste or the taste of a given period. It is, rather, a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability.’

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Humble collections of stones, arranged carefully, give a peaceful ‘zen-like’ calm to the home.

Looking and reflecting on the interiors, as an architect and home maker, I came to realise that to create a home you have to know yourself and your own needs deeply.  And to create such an harmonious home, you don’t need expensive things- just things that reflect who you are.  So Jim and Helen Ede’s home could be viewed by some as eccentric and unsophisticated but the abiding impression is that of a couple who consciously chose to eschew the materially rich for that which is soulfully rich.  A lesson indeed for these chaotic times and materialistic culture.  Such expression where someone’s inner life has been thrown open public gaze requires inner confidence, critical thinking and unwavering certainty.  This is the home of someone who has absolute happiness, not relative one.  In the end, the lesson for me wasn’t from the art but from the collection and the home as one.

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Works of art by famous artists are placed deliberately low on the floor so that the viewer can sit down and contemplate these.
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Light and shadows play a part in how sculptures are placed
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Plants also part of the display- a living natural art
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You are invited to sit on the chairs to contemplate the space and art

Lessons on design and interiors from Kettle’s Yard

  1. Make the design work for you, don’t follow others blindly.
  2. Choose things that enhance the spaces- these might be cheap things like plants, rocks, books and sea shells. They could be things that you love to touch and see.
  3. Follow the design through as you walk from space to space.  It might be simpler and cheaper to have a flow, rather than each space having its own ‘theme’.
  4. Remove and hide things seasonally.  This gives a sense of the home through the seasons.
  5. Eclectic collections have a charm of their own.  Many design magazines feature empty monastic looking spaces but as this home shows, you can have many things if displayed well.

 

Creative soiree One 2016

After many requests to restart the creative soiree sessions I had organised last year, we finally had one yesterday. What a gathering- architects, documentary film makers, theatre artists, fine artists from six different countries or ethnicities (one from Homs, Syria). Some people had brought with them works of art and books that inspired them (Living out Loud by Keri Smith, The Artist’s Way by Julia Cameron; and Harnessing your creativity by Twyla Tharp). People of different backgrounds and age range from 70s to 30s added to the diversity. Naturally, I asked whether the artists of 1960-70s were of as high calibre as contemporary creatives of today or whether we are seeing the very frightening times of permanent loss of creativity. Hence follows a very short summary of the four hour event.

The interview with Marwa Al- Sabouni, conducted via Skype started us off on the question of value of architecture. Does architecture allow us to be frivolous or is it generous? Is it a technical or a social art? Marwa, is a 34-year-old architect and mother of two, who lives in Homs where she was born, amidst some of the most vicious fighting that the Syrian civil war has seen. With her architect husband, she has opened a bookshop after their practice was shut in the conflict. Remarkably, amongst all this chaos and danger, she has written a book about her life with a preface by Roger Scruton. For someone living day to day (as she described), the charmingly calm and articulate Marwa, made it clear that she thinks that architecture must contribute to society. Unlike fine art, architecture has a purpose beyond beauty and though it must be beautiful; architecture must also help to solve the problems that the world faces. The genius is not separate from society.

Another aspect that came up was the concept of waiting for the inspiration, or waiting for the muse. Instead of waiting, as the writer Elizabeth Gilbert has described one must meet the muse every day by showing up for work. Luck is about preparation or being ready to meet luck. To be prepared one must work every day, flex the creative muscles everyday- that is meeting the muse everyday, to show up for work. To capture one remarkable idea, one must prepare many. The pop artist, Prince, who died recently, came up as an inspiration- apparently there is a vault full of his work. He worked everyday and created many songs, not all of which saw the light of day. But the important thing was the creative practice in which he participated every day.

But it is not easy, given internal or external difficulties. But such difficulties also present opportunities and hone our creativity. Marwa’s external problems make it difficult but not impossible. David, a fine artist, who was a contemporary of David Hockney at the Royal College of Arts in the 1960s and taught art there and at Central St Martins, is colour blind. He described how as a child, when he drew a yellow cow, was told off by his art teacher, ‘Cows are not yellow!’ He persevered thanks to a supportive family. An enlightened teacher gave him his first commission, aged 12- to draw French gothic cathedrals. David brought in his black and white digital art- a new media in which he has now ventured in his seventies. Creativity evolves constantly. I was reminded of Hockney’s digital art made on his iPhone. What makes us less creative is fear. We need to believe we are fully creative, right now, wherever we are.

So in a way, creativity is about discovering yourself. As someone remarked, to be human is to be creative. But as a consequence of being creative, one will invariably fail as one tries different things. But as one only hears about successes, not failures, one imagines that the creative person got it right the first time. But in schools and further education, we are not taught the value of failure or even risk taking. We like safety, it seems, so it appears that our work has lost some of the edginess or even exploration. Ideas that are not used, bother us as they sit in the back of our minds as time passes. Artists, architects and other creative people took many risks in the 1960s and 1970s which saw the flowering of ideas. However, the world now presents many new problems- all of which need resourceful, innovative and creative solutions. So lets get out of our safety mode and experiment as much as we can. Creativity is not dying out, it is only transforming- that was our conclusion.

 

creativity from rubbish

Creativity comes from all sorts of places and things that inspire or make connections.  David, my friend, who has a problem in his hips, was visiting a friend when he spotted a back frame of a ‘Thonet‘ chair, waiting to be put into the rubbish dump.  A trainee furniture designer had been making it for practice and had left it behind.  David asked his friend if he could take it and she said yes.  On the way back home, as the crowded train swayed back and forth it , he realised that he could put his weight on that frame and it supported him.  He also realised that when a bus braked, it was good to put it at the side so that it steadied him.  So he put some plastic feet on the two ends and there it was, a sexy curved support instead of the awful grey walking frames used.  If he didn’t need it, then he could put it on his shoulders, so it is easily portable.  Here is David showing the different ways he uses the chair back.

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For me, the main lesson here is that you can have a problem but you need to put it in the back burner of your mind.  Then slowly and unexpectedly, you will find a solution in your own ‘Eureka’ moment.   Archimedes shouted”Eureka! Eureka!”and ran out naked in excitement after he noticed that the water level in his bath rose and he made the connection that the volume of water displaced must be equal to the volume of the part of his body he had submerged.  Friedrich Kekulé’s theory on the structure of benzene, which proved to be correct, was apparently influenced by the image of a snake eating its own tail.  Einstein also arrived at his theory of relativity when he was watching a train move as he sat in another.  There are many more examples of such moments- from artists, scientists to inventors and engineers- who have made connections to arrive at solutions.  Where 2+2=5 or more!

The other thing I noticed was that it is the creative mind that notices and makes the connections. When David walked in, I was the first person to notice his innovative walking frame.  No one else commented or looked at it.  David said that on the street, it takes a certain kind of person, to come up to him and ask him about it.  So I guess, if you have noticed something creative in another person, then it is most likely you have the same creativity yourself.