Category: FEATURES

  • Why birdwatching is the new favourite pastime for East Londoners

    Urban birder: Josh Loeb
    Urban birder: Josh Loeb

    Look for birds in East London and you might spot pigeons and call it quits. But look properly, really notice what’s around you, and it’s thrilling what you can see: kingfishers, woodpeckers, peregrines, owls – and that’s before you even get to the particularly rare stuff.

    London is a migration route filled with tributaries flowing into Mother Thames. There are valleys and heaths and ancient woodland. Seen from the sky our city is remarkably green. Conceiving of it like a bird might, and swotting up on plumage, has opened my eyes to new ways of experiencing these metropolitan environs.

    Birds were a childhood love but I stopped noticing them as I got older owing to preoccupations with trivial things and the perceived uncoolness of ‘twitching’. Now the obsession has gripped me anew and I’m filled with childlike wonder at the richness of it all. What’s more, I’ve discovered I am far from alone.

    Birdwatchers, birders, twitchers, ornithologists, avian enthusiasts – call us what you like – are viewed as eccentric bores by those ignorant of such joys. Trudging around with binoculars or a telescope and ticking off species on a list is not everyone’s idea of fun, but casual enjoyment of the natural world has huge, unappreciated benefits for mind, body and spirit.

    As with all things, there are different subspecies of birdwatcher, but you don’t need to consider yourself one at all to appreciate that the sight of a hawk or the song of a whistling warbler can make memorable what would otherwise be another tedious commute or humdrum office lunch break.

    “I did the London commute for quite a while,” recalls Howard Vaughan of the East London Birders Forum. “On my lunch breaks I wandered the streets and went into tiny little green spaces and found urban nesting sparrowhawks, a nuthatch, firecrests.”

    A committed birdwatcher since the age of five, he now works at Rainham Marshes on London’s easternmost fringe. It’s a miraculous place where lapwing flocks float above reedbeds and acrobatic falcons hunt dragonflies in summertime.

    Seals and porpoises pop up in the Thames, which flows past the reserve, and there are snakes, stoats and other creatures here too. Skyscrapers are visible in the distance and you can hear the groan of traffic from a nearby arterial road, but it’s hard to believe this is still London.

    Kingfisher Photograph: George Hull
    Perching: a Kingfisher in Rainham Marshes. Photograph: George Hull

    “I’m from Ilford,” says Vaughan. “My mum is a Plaistow, East Ham lady, so I have the East End in my blood. When I first started birding in East London 30-odd years ago, Rainham Marshes [then a military firing range] wasn’t really an option. I used to go to the urban and suburban parks.

    “I’d go birding in Wanstead Park and Wanstead Flats, up and down the Lea Valley. There are birds everywhere – that’s the bottom line.”

    Gary Budden, a writer and editor at East London publishers Influx Press, also caught the bug young from his father, a working class, self-taught amateur ornithologist. Like many birdwatchers, the pair went on trips to obscure parts of the UK in pursuit of glimpses of sought-after species.

    “We went all around the country doing birdwatchery stuff,” he says. “That probably instilled in me all the knowledge and gave me the passion for it. Then, when I got into my late twenties, it all just came flooding back.”

    Now 33, he agrees that birdwatching tends to appeal either to children or to retired men, acknowledging: “It has had an image problem – it still has one to an extent.”

    Budden’s own writing has been heavily influenced by The Peregrine, a niche work of literature by J.A. Baker, an Essex writer who was perhaps the ultimate obsessive birdwatcher.

    He says there has been a renewed interest in writing about nature and the British landscape and that public appetite for the “authentic experience” that birdwatching offers is growing.

    “I think people are bored, in a strange way,” Budden says. “When you go out looking for birds, you get something that counts as an authentic experience – an experience you can’t buy.

    “You have to go to specific places to see specific types of birds. You can’t get that in any way other than by physically going to that place and engaging with it and knowing what you’re looking for. I think that’s part of the appeal.

    “This is something that is completely outside of the human world, and it has site-specific aspects to it.”

    In an age when our eyes are increasingly focused downward at the tiny glaring screens of our devices, in a country that has lost most of its large wildlife, birds remain dramatic symbols of freedom, beauty and purity.

    “There is this statistic that British birds are the most watched in the world,” says Budden. “That is a curious but also rather unsurprising fact.”

    Flying widgen
    Flying widgen

    Is birdwatching undergoing a renaissance locally? There are signs it might be. Witness the plethora of blogs and Twitter accounts authored by youngish Hackney and Walthamstow types rhapsodising about the avian fauna of adjacent marshlands. People like Graham Howie, 37, a primary school teacher from Dalston who “started noticing” birds three years ago.

    “I was training for the Edinburgh Marathon in 2012 and I used to use the Lea Valley,” he says. “I’d run alongside the canal. I used to run up and down there and see all these birds that I’d seen before but had not taken much notice of – birds like kestrels and cormorants – and I started to stop and have a look at them. The next week I took a camera and took pictures, and when I got back home I identified them. I kept doing that for a while. I saw more birds and I got heavily into it.

    “Then I got to know the local birdwatching community. I met other people who were as odd as I was and got to know them and learned from them. They showed me other places I might not have known about otherwise.”

    With revamped bird reserves now being created in Stoke Newington and on the edge of Walthamstow, how long before this pursuit starts being marketed as hip, perhaps with the assistance of that newly fashionable retro font that adorns so many pricy cafes?

    I’m not sure I want it to be, but it would be no bad thing if birds were to become, for everyone, more than what J.A. Baker called “a tremor on the edge of vision”.

    rspb.org.uk

  • Tom Hunter on squatting in Hackney during the 90s: ‘It gave my art a meaning and a purpose’

    Tom Hunter in front of The Ghetto
    Tom Hunter in front of ‘The Ghetto’, an exact model of two squatted streets, now on display in the Museum of London. Courtesy of the artist

    What is now a leafy side street connecting London Fields to Mare Street was the scene of a hard fought battle during the 1990s.

    Victorian terraced houses on Ellingfort Road, owned by Hackney Council, were run down and classified as derelict. Tenants were moving out, and one by one squatters moved in. Before long the entire street was squatted.

    “The neighbourhood is a crime-ridden, derelict ghetto, a cancer – a blot on the landscape,” said the managing director of food distributors the Don Group, to the Hackney Gazette in 1993.

    According to contemporary reports, the company was planning with Hackney Council to invest £6 million in a 21,000 square foot food retail distribution and manufacturing park in the area, dubbed the Hackney Industrial Improvement Area.

    “The problems associated with dereliction – of vandalism, squatting, fly-tipping – which have bedeviled the area for years, will be arrested by the proposed development,” said the then Council Leader, John McCafferty.

    The development, which was due for completion by September 1995, aimed to create 200 jobs, but would mean bulldozing the squatted houses on Ellingfort Road and London Lane, home to some 100 people.

    Ellingfort Road’s most well-known resident was Tom Hunter, a photographer who documented the lives of his neighbours in a series of photographs and presented them with a dignity that stereotypical representations lacked.

    When Hunter squatted 17 Ellingfort Road in 1991, he had been working as a tree surgeon but was about to start a degree in photography at the London College of Printing.

    We meet at his house, which isn’t far from Ellingfort Road, on a pretty street north of London Fields lined with smart terraced houses.

    He tells me that squatting was fairly commonplace back then, as poorly maintained houses and flats, owned by councils and leased to housing associations or cooperatives, weren’t considered worth repairing.

    At the end of leases tenants would move out and the property would lie empty until squatters moved in.

    “You’d move in and tell your mates: ‘there’s a house we’ve been talking to the housing association tenants about in number 33. They’re moving out next month, they’ve given us the keys, you can move in there.’ So you’d get your mates to move in.”

    Squatting Life

    Hunter was a fairly seasoned squatter by the time he moved into Ellingfort Road, where he hoped to have a studio for his photography. The street before long began to fill, empty houses one by one becoming squats. But the squatters weren’t just artists, or students needing somewhere cheap.

    “It was all very varied,” Hunter recalls. “Two doors down the guys were motorbike despatch riders – they’d save up enough money and go off to the Far East for a few months. Next door to me there was a builder, and a girl who worked in a casino as a croupier. There were charity workers, people doing hardcore labouring jobs, and others who were saving up. It was a really good mixture.”

    The squatters began sharing and cooperating, and the community grew. Garden walls were knocked down and a communal garden established. A former motorcycle repair workshop became a community café, with food served three times a week. Bands like Asian Dub Foundation played at parties and Howard Marks came to give a talk. There was even a mini city farm – a pond with ducks, chickens and goats.

    It might have been their shared ‘outsider’ status as squatters that brought them together. But what really cemented this tight-knit community was the fear of being evicted and losing what they had built.

    The Ghetto, tom hunter 1994 620
    ‘Old Hackney’: photograph from ‘The Ghetto’ series by Tom Hunter, 1994. Courtesy of the artist

    Eviction Battle

    The battle to save the area began in 1994, when the squatters were threatened with eviction. Hackney Council unveiled plans to demolish the houses to make space for a large-scale industrial zone, including a frozen chicken warehouse.

    “It’s hard to imagine now that area which is just so vibrant. Now it looks so gentrified with all those places opening up but at the time it was an area of abandonment and dereliction,” says Hunter.

    The squatters weren’t alone in fighting the plans. On their side were local businesses against the idea of a fenced off industrial area. Hackney Council chose not to involve squatters in the consultation process, but legitimate businesses were invited along to the meetings.

    “The shops, the businesses and the pubs immediately came straight to us and said: ‘do you realise they’re going to knock down your houses and kick you out?’ We made lots of strong links and that came about because we were facing eviction.”

    One of the squatters ran a bike shop and was invited, as a local businessperson, to the meetings with the council.

    “He became our main representative. They didn’t realise all along that he was a squatter too. They thought like stereotypical squatters you sign on or you’re a student and didn’t realise you could be running a business or doing lots of different things.”

    Women Reading Possession Order, Tom Hunter 1997
    Dignified: Woman Reading Possession Order by Tom Hunter, 1997. Courtesy of the artist

    But the real game changer was yet to come. Hunter was approaching the end of his course and for his degree show, he and his friend James McKinnon made an exact replica model of the two squatted streets.

    Made out of cardboard, wood, transparencies and photographs, The Ghetto accurately recreated the exteriors of the houses and the lit-up interiors of rooms, complete with the people who lived there, sitting on their beds or drinking tea.

    “I wanted to make a document of the area before it was bulldozed, that was the idea. Because I wanted to represent everyone’s houses before they were all destroyed so that in generations to come they could see what was there.”

    The sculpture, which is now on permanent display in the Museum of London, challenged the prevalent sense in the tabloid media that squatters were a threat to civilised society.

    Hunter’s university tutor, Julien Rodriguez, was so impressed by the piece that he arranged for people from the Museum of London, the Guardian and Time Out to attend the degree show, and suddenly the squatters’ plight was catapulted onto the national stage.

    “It became a political propaganda piece for us. It was an amazing transformation from being a squatter to the Guardian saying: ‘well what do you think about housing issues?’ It was like, wow, people are actually interested. And then lots of people started saying this is really important, and maybe we shouldn’t be knocking this down.”

    With the sculpture making headlines, Hackney Council’s attitude softened. “Suddenly people in the council felt compelled to speak to us, so we could actually talk about a way to save and regenerate the area.”

    “It gave my art a meaning and a purpose – it wasn’t just about putting pictures on the walls. It was a huge step in my career, a launching place which made me realise the potential of making art.”

    Having won the propaganda war, the squatters spent the next 10 years transforming the community into a housing cooperative, borrowing money from a housing association to buy the properties from the council and fixing them up. Even today they are still repaying the money on the houses.

    “That’s pretty much as it’s been ever since. I spent another seven years there I think, my daughter was born there, and I still stay there now and again. My friends are still there and they’ve got kids now that are the same age as my kids. They all go to Gayhurst so we even share the same school run.”

    tomhunter.org

  • A celebration of the body: the work of performance artist Poppy Jackson

    Hay Barn by Poppy Jackson
    Poppy Jackson performs Hay Barn in Rosekill, New York. Photograph: Maria Foque

    In November the artist Poppy Jackson made headlines around the world when her performance piece Site, which she presented at the SPILL 2015 festival of performance in London, provoked extensive media coverage. Jackson sat naked astride the gable of Toynbee Hall in Whitechapel across two days in four-hour stints, a durational performance that was observed by the crowds that gathered in the courtyard and those in the surrounding buildings. A single tweet from a worker in an office looking over the performance snowballed into extensive tabloid coverage, international news stories, and television appearances for the artist and her work. As I wrote in a previous piece for the East End Review, media interest overtakes and obscures the art all too often in such situations. I met with Jackson to discuss the piece, her wider practice, and what comes next after a brush with viral fame.

    Lewis Church: Before we talk specifically about Site, could you speak a little bit about your artistic background, and your practice as a whole?

    Poppy Jackson: Well my mum is an artist actually, so I’ve always grown up with her making paintings and prints and helping her with exhibitions. That has been a really big influence, inspiration, and a huge source of support. During high school and A-levels I decided I really wanted to do art, although mainly painting and drawing rather than performance. It wasn’t until I went to Dartington [College of Arts] in Devon that I began seriously making performance. My 2D work also continued in tandem with the performance, and the paintings and drawings have also always been on the subject of the body. Eventually it just made sense to experiment using my own body, and so the paintings got bigger and I was using my own body to do them, painting with my hands and my hair. It then became more about the process of making a work and what was going on physically than about just the body.

    LC: There seem to be a number of artists in the UK right now who are returning to the body. Do you think that has something to do with how our lives work now? With the mediation and fragmentation of social interaction?

    PJ: I think so. It is a good way to return to a really basic form of communication with each other, to return to the body. It’s also to do with a lot of the jobs we are doing. I now spend a hell of a lot of time on the computer, writing applications and things. So to really feel present in your body and using that is the best antidote.

    LC: Are there artists working in the UK at the moment with whom you feel a strong kinship, in terms of your strategies, and the concepts you are working with?

    PJ: Definitely. When I moved to London I met the performance artists Bean and Benjamin Sebastian, and became an Associate Artist at ] performance s p a c e [. So that venue has definitely been a kind of home for me. And there are so many artists who have been through that space, whose work I’ve witnessed and been so massively inspired by. Sinéad O’Donnell, Alastair MacLennan, Mark Greenwood, Bean and Benjamin themselves, Hugh O’Donnell. Even if it’s not work that I think is like what I do, to witness somebody going through a raw act of communication using their body is an incredibly special experience.

    LC: I’d like to stay away from the publicity and tabloid reaction to Site and think more about the artwork itself. What do you do during the piece, and what do want the audience to see?

    PJ: In Site I was in position on a building that people could move through, an inhabited building. People could use the architecture themselves to look around the piece, climbing the interior stairwell for example, to look down on my body and see where I was positioned amongst the buildings. It was a public space, and you could also see me on the roof from the street. I think it’s extremely different when you witness it live because the people there with you go through an experience as well. They have some kind of empathy, they can feel the temperature even with their coats on, and so as a live experience you can kind of tell what the performer is going through.

    The idea had been cooking since about 2010 when I did a sketch, using my menstrual blood as paint on the paper. I didn’t know that it was going to happen on architecture though, as I didn’t yet know what that steeple shape was. I did a version of the piece called Hay Barn in Rosekill, New York, where I was on an amazing 1940s hay barn looking down. Myself, Jill McDermid-Hokanson and Tif Robinette curated the weeklong festival ESSENTIAL DEPARTURES, where fifteen artists (some of whom had never made performance work before) delved in and created incredible work in 100 acres of wild land. My piece there was a very similar action physically, but actually very different because the isolated context was completely opposite to Site in London.

    Site by Poppy Jackson
    Site by Poppy Jackson. Photograph: Marco Berardi

    LC: Obviously the piece has reached a huge number of people, far more than you might have originally expected. But to go back to the actual audience who were there, what were you hoping that they would experience or take away?

    PJ: I was hoping it would be a very positive experience, but also something that would critique the fact that a naked body is a problem in our culture. A celebration of that body on its own terms is not something that we usually see, especially in public space. All of the female bodies that I normally see in public spaces are trying to sell something, or shown in a way that is really alien to how I feel about my body. There is this connection between consumerism, capitalism and the female body, where the body is devalued by being the thing that sells something, like a blank canvas. I was trying to critique all of these things and cut through them by placing a real body there. I don’t want my work to just be an attack or to just point out negatives though.

    LC: How does that relate to performing on the roof of Toynbee Hall? I read that you were thinking of the radical history of Toynbee as being something that contributes to that feeling of challenge, but also as something positive.

    PJ: For sure. Toynbee was built as a radical centre in the 1800s, to train future leaders so that they had the potential to bring about social change. I think the legacy of that and the special energy of the place remains, especially when you think about its social role now with local women’s groups for example, and the input of ArtsAdmin, which is based in the building. It’s amongst local businesses and flats in the East End and I wanted the performance to be seen by a non-arts audience as well as the festival audience. I also used to work down the road so this location has personal significance too. I’ve always had a job on the side, like most artists do to fund their practice.

    LC: Has the experience of Site affected your plans for the future, and what you might do next? I remember when I talked to you during the festival that you said it had almost become two pieces, the media reaction and the performance itself.

    PJ: Exactly, because there were people who’ve only seen the piece through the media coverage, and they’ll be thinking completely different things from someone who was there and witnessed it. One thing I’ve got to think about now is the side effect of this work, all the media attention, and how that affects the next piece. It’s something I’ve really got to think about. Even I only know my experience of it, I don’t know what it was like for those witnessing it from the stairs or on the ground. It has become two related but distinct pieces, and the documentation like the photographs and video, are very different from the performance. I think that if people witnessed it live they’d see that actually it was a very quiet piece, that it was very still, and really wasn’t about trying to shock anybody.

    I think maybe doing the piece again live will provide another way for people to witness the work. It’d be great to do it again, but I’ll leave a little while to process everything before I return to it. I have some really good sites in mind, but I want to go back to painting before that. I go through cycles with performance, I return to painting and then back again. I’m working on a series of paintings at the moment, pieces that link very strongly to my performance work.Then I plan to return to Site.

    Documentation of Site is available at spillfestival.com/spill-tv
    poppyjackson.co.uk

  • Shaping up in Hackney: one man’s quest for physical perfection

    Mansoor Iqbal attempts to star jump his way to fitness

    like cigarettes, I like beer, and I like fried chicken. My job is almost entirely sedentary and I have, as you will read later, a ‘weak core’. I’ve never had a problem with any of this, and have always viewed more active pursuits – and those who indulge in them – with a mixture of disdain and trepidation.

    But something has happened to me in the last couple of years. Something perhaps inevitable, given the above: the paunch. Affecting not to care about your figure is one thing when you’re a snake-hipped badass. But when you’re above fighting weight and have recently crossed the threshold of a new decade, suffice to say Something Has to be Done.

    In the interests of science, I decided to humiliate myself in four different ways: going for a run, a session with a personal trainer, yoga and a group boxfit class.

    But before I tell you about each one, a confession. I had a lot of fun doing these things. Yes, I was in a lot of pain, but I might be starting to understand why people like being active – the effect on one’s mood cannot be understated.

    And despite my complete lack of fitness, co-ordination or dignity, I was not once offered anything but warm, friendly, encouragement. So, if you feel at all intimidated by sporty people, you needn’t be.

    Going for a run

    On returning from an eight-day sojourn to the States, I resolve to begin my odyssey with a jog in the park. Three laps around the outside of London Fields, home in time for tea – no problem.

    Well, not until it starts to rain torrentially. Then my iPod decides it doesn’t want to play ball. Starting at Pub on the Park, I’m out of breath by the time I reach Broadway Market, holding a faulty electrical device, thoroughly soaked and well on the way to a case of trench foot.

    But it becomes an oddly liberating experience. The shortness of breath one becomes accustomed to, and eventually just concentrating on rhythmically throwing one leg in front of the other becomes rather satisfying. The sense of achievement on reaching the end, the burst of energy you get as you know you’re approaching it…it’s all rather joyous actually, as running essentially is (do it with your hands in the air if you’re not convinced). The rain? Well, it was refreshing, okay? Just get some shoes without holes.

    Born to jog (in London Fields): Mansoor finds running an ‘oddly liberating experience’

    An assessment with a personal trainer

    Why did I agree to go to an introductory session with a personal trainer the day after my company Christmas party? As I unglue my eyelids, and cough up cigarette butts, I wonder what levels of self-loathing would drive a man to this.

    This was the thing I was dreading most, envisaging a terrifying beef carcass raining blows on me while I wept over the mess I’d made of my life. I was robbed of that narrative arc by a softly-spoken gentleman by the name of Sapan Seghal, founder of London Fields Fitness, who explains his philosophy of making fitness available to everyone (his gym offers low-cost classes too).

    He takes me through the process of personalisation, explaining how much of it is down to nutrition (80 per cent!), before making me reveal my shameful lifestyle and asking me about my goals. I almost feel like I should be reclining in an analyst’s couch, but then comes the assessment.

    Skip, he says; run over there; more skipping; step on and off this bench; crunches; now press ups! Repeat! Bench squats! Nothing in isolation is so bad but combined it is pretty punishing (at one point I wonder if I should tell him how close I am to vomiting). Yep, Sapan, agrees, my core strength is an issue.

    But again, it’s strange: I feel good! I feel like I want to do more of this (not today) and indeed, one of the central principles of the work they do here is giving you ‘homework’. I tell Sapan how good I feel, reflecting, “I must be a masochist.”  “I can tell,” he responds, “from the way you run”.

    London Fields Fitness Studio
    379 Mentmore Terrace, E8 3PH
    londonfieldsfitness.com

    Sunday morning yoga

    I confess, I have always been a sceptic, but when my editor says: “Maybe try something a bit more relaxed, like yoga,” I think why not? On a Sunday morning it’ll make a nice chilled-out start to the official day of rest.

    Something more relaxed indeed! In fairness, perhaps I didn’t explain to the instructor, the most excellent (and patient) Naomi at Yoga on the Lane that I am a total novice, but it seems I have landed myself in an advanced class.

    And advanced it very much is! It’s a majority female class, and these women are rock solid – the moves they pull off without flinching something to behold. I, by comparison, am trembling and panting for breath, trying to support my body weight on one puny arm.

    I feel a little bit like a nuisance in here, but Naomi takes good care of me, putting me in ‘child pose’ when the going gets tough (I love child pose). It is quite the workout, and I can feel that weak core being put to the test, as well as my sense of balance, and am dripping with sweat by the end.

    At the end, we get to do a little lie down…and it’s amazing! Maybe it’s because I’ve just taken such a beating, but I really do feel at peace, lulled off by the gentle sounds of Sunday morning.

    Yoga on the Lane
    105 Shacklewell Lane, E8 2EB
    yogaonthelane.com

    Poser: Mansoor gets to grips with a yoga mat

    Punching strangers at a boxfit class

    When I find out that boxfit is punching and occasionally ducking out of the way of punching and not just a boxing-themed aerobics class, I get The Fear (the seeds of which were sown by being around people pumping iron – though énergie does pride itself on not being a ‘big scary gym’).

    Boxfit goes like this. We’re put into twos; I get paired with Michelle, a fellow first timer, whose kickboxing warmup is enough for me to realise quite how badly she’d deck me in a real fight (take a friend if punching strangers doesn’t appeal).

    Jonathan, the instructor, demonstrates with one of the more experienced hands an increasingly complex series of moves with which one of you, holding pads, challenges the be-gloved puncher.

    I’m instantly distressed by how much I’m enjoying punching. As the routines get more complex, and you get more accustomed to it, you even start to imagine you’re in an actual bout (a pretty big leap, but a boy can dream).

    Jonathan gives us friendly advice, saying, not in so many words, that if you keep doing that, you’re going to get pulverised. I find myself caring and really wanting to take on the advice.

    This is a covertly intense workout – you don’t really realise while you’re punching/being punched, but you are working almost every part of your body (the next-day aches are in unexpected places).

    I’m actually tempted to particularly recommend this to my non-punchy brothers and sisters – you may well learn something about yourself…

    énergie
    3 Reading Lane, E8 1GQ
    energiefitnessclubs.com/hackney

  • Why Homerton Hospital art room is the picture of good health

    Art curator Sean Caton in the Homerton Hospital art room
    Art curator Shaun Caton in Homerton Hospital, surrounded by art made by patients with acquired and traumatic brain injuries. Photograph: Russell Parton

    If you’re looking for art, a hospital is not the most obvious port of call. But along the labyrinthine corridors of the Homerton hangs a vast and diverse collection – the envy of any Shoreditch gallery.

    Hawk-eyed visitors will spot works by twentieth-century masters among the paintings, drawings and photographs by established artists. But next to canvases by Henry Moore, Burt Irvin and Bruce MacClean are brilliantly original collages and stunning abstract paintings that are far less easy to identify. This is because they are created by true ‘outsider artists’ – the patients themselves.

    “People often say that the work by the untrained artist is better than the one by that celebrated Royal Academician,” says the hospital’s art curator Shaun Caton.

    We meet at the front of the hospital for a trip to the Regional Neurological Rehabilitation Unit (RNRU), where for over 20 years Caton has been running art workshops for those with traumatic and acquired brain injuries. Patients may have suffered a stroke, a brain aneurysm, been hit on the head or involved in a road traffic accident. Caton aims to bring them back to health through activities that inspire their creative potential.

    “This is the only ward that has every single room filled with art made by patients,” says Caton as we enter the RNRU. “As you will see it’s just not possible to display it all – there are around 3000 works, and that’s only the ones on paper.”

    Although there is a sizeable collection of art in the hospital by established names, Caton is more interested in works by unknown and untrained artists. We approach a door through which lies the “nerve centre” of the operation, and duly enter.

    To step inside Homerton Hospital art room is a bit like entering a secret garden. Abstract paintings of swirling patterns or of strange creatures seem to cover every surface, jostling for space with painted models, knitted fish, handmade books and collages. Paints, brushes and easels fit wherever they can, the makeshift shelves visibly buckling under the weight of art – each piece with a unique story about a person with a serious head injury.

    Art works
    Eclectic: a selection of artworks made by Homerton patients. Photograph: Russell Parton

    Caton calls the room the “power house of the creative imagination”, and the title is not misplaced. In the 20 or so years of its existence, nearly a thousand artists from Hackney and the East End of London have volunteered their services here.

    “We have had sculptors, collage artists, poets, writers, artists who make inventions with machines and installation art, we’ve had sound artists, photographers, print makers, recycled book artists, artists who make art using recycled bus tickets – it’s endless the imaginative scope of things we can introduce here,” Caton enthuses.

    The art room started as an experiment to engage patients with behavioural problems, but it soon evolved. Now it treats patients with speech, language and memory problems. Some are semi-paralysed, others may not know the day of the week.

    “My job if you like is to find things that suit people’s potential but push them a bit further,” Caton explains, showing me a handmade book filled with patterns, text and collages.

    “Let’s say we’re trying to encourage someone to concentrate better, well something like this which requires cutting and placement and judgement and colour will stimulate the brain to work with the hand and the eye to improve coordination.”

    One patient, a man from Bethnal Green, had been diagnosed with Guillain-Barré syndrome and had paralysis in his hands. He wanted to paint watercolours and spent all his time in the art room trying to get the feeling back in his fingers. Caton strapped the brushes in his hands with surgical tape and guided them over the paper.

    “At first we made what some people would consider to be meaningless scribble, but as time went by he started to regain control of his movements, and was able to execute quite precise designs and illustrations which led to compositions and paintings of a very high standard,” Caton recalls.

    The patient, who had no formal training, exhibited his watercolours in the hospital and went on to become an amateur artist once discharged.

    Patients are referred for very different reasons: a physiotherapist may want a patient to strengthen their wrist and finger muscles, or a psychologist may refer a patient to improve their social skills.

    Most hospitals practise some sort of art therapy, but this is very different: art at the Homerton is used to tackle a wider range of conditions that are not merely psychological. The success of the art room has led to the hospital piloting a similar service for patients with dementia.

    Caton’s approach is less rigid than the one-to-one confines of art therapy. Workshops at the Homerton encourage collaboration and social interaction, and cater for several patients at once.

    But what really makes it unique are the activities and the range of stimuli used to inspire the patients. We listen to a piece of sound art sent in out of the blue by an unknown composer called Lowell Johnson. It’s an atmospheric urban soundscape, a kaleidoscopic collection of sounds that mirrors the chaos of the mind.

    “When you play something like that to a group, people respond to it in a variety of ways. It will automatically trigger conversation and remind people of things, but it’s also probably going to inspire them to make an artwork,” says Caton.

    “We’re leagues ahead of other hospitals in that respect. They might just do some paintings of butterflies or some block paintings but we try to provide meaningful activities that are truly extraordinary.”

    Patient art
    Bright future: Caton aims to inspire patients’ creative potential. Photograph: Russell Parton

    Caton has refused interviews and is wary about talking to journalists. In an age of cuts, hospital art is often seen as being a waste of money.

    “Those people need to come and visit this facility and meet the patients and see the evidence for themselves about how this can speed up their recovery programme by improving sense of well being,” he says.

    The budget for basic art materials, as well as for framing, mounting, storage and cataloguing the art works is very small. This means Caton has had to raise funds by holding exhibitions and selling greetings cards designed by the patients.

    “All these guys who come here and offer their services and time and talent are not being paid,” Caton insists. “They’re not even been paid a cup of tea, I provide that out of my own money. And I provide the biscuits as well, because that’s the way I think it should be.”

    Through cuts and all kinds of adversity, the art room has kept going, which Caton puts down to having to be resourceful, and not leaving the lights on.

    The situation changed in September, however, when the street artist Stik donated £50,000 by selling off 100 original prints of an NHS-themed mural entitled Sleeping Baby, which is on display in the hospital courtyard.

    Members of the public camped out over night, queuing around the block to take home one of the limited edition prints, made by an artist who himself used to volunteer at the hospital.

    Stik mural
    Hospital mural: ‘Sleeping Baby’ by Stik located in the inner courtyard of the Homerton. Photograph: Stik

    In a speech at the sale, Caton said: “In this hospital there are many patients who need something to focus on, so we offer them art workshops, not just as a recreation or past time, but to help them gain control of their lives again.

    “The things that go on in these workshops enhance their concentration, their motor coordination and their general sense of well being. And so the money raised will enable us to buy much needed equipment, materials and really push forward with these services.”

    We sit around a table on which there are at least 100 individual art works. The storage racks behind me are falling to bits, on the verge of collapsing under the weight of paper. With Stik’s donation, Caton will finally be able to invest in cataloguing and archiving the art for the benefit of future generations.

    It is not an unreasonable ambition. The Bethlem Gallery in Beckenham is home to a fascinating collection of art by mentally ill patients, and in the 1920s the German psychiatrist Dr Hans Prinzhorn amassed a vast collection of his patients’ art that is famous the world over. Why not something similar at the Homerton Hospital for patients with brain injuries and dementia?

    “I’d like the general public to know about this collection, what it’s about, who it’s been created by and why we are even bothering to maintain this for posterity,” Caton says. “I feel it should be maintained, because it’s an unknown universe of creative potential. A lot of people in society have an innate hidden creative talent, which can be teased out through art. This is a testament to it.”

    Art
    A model for others: Caton’s workshops aim to help patients ‘gain control of their lives again’. Photograph: Russell Parton