Tag: Hackney Citizen

Content syndicated to Hackney Citizen.

  • Market gardens: the ‘ugly sisters’ of horticultural history

    Market gardens: the ‘ugly sisters’ of horticultural history

    Watercolour of Kingsland Road in 1852, by C.H Matthews, showing market gardens on the right. Published in The Gardens of the British Working Class by Margaret Willes
    Watercolour of Kingsland Road in 1852, by C.H Matthews, showing market gardens on the right. Published in The Gardens of the British Working Class by Margaret Willes

    What was Sarah Chandler doing in Edward Dixon’s garden at six in the morning of Thursday 4 September 1740?

    Scrumping, claimed Dixon, but she said the apples and pears in her apron were windfalls, and the judge let her off with a caution.

    Luckier than Eliza Ingram and Jean Kidd who were caught red-handed stealing cabbages from William Stevens’s market garden in the parish of Bow and sent to Bridewell prison.

    The Hackney Petty Sessions book revealed a lot of this sort of thing in the profitable market gardens of East London, where quality fruit and vegetables were grown in intensely cultivated plots for comfortably off clients in the City.

    Ugly sisters

    According to historian Malcolm Thick, market gardens were the ugly sisters of garden history, which until recently was all about pleasure grounds for posh people.

    Hackney had its share of those, but was ideally placed for the commercial activities of hard-nosed entrepreneurs.

    In the 1590s there had been famine in London, and feeding the poor was a priority; root vegetables helped, and so plentiful crops of carrots, parsnips, turnips, neeps and swedes, were grown as a substitute for grain.

    Exquisite turnips

    A century later Hackney was renowned for its exquisite turnips (it was only later that they became cattle feed) and today you can find in fruit and veg stores all over Hackney, small tender white turnips, or fresh radishes, which can be simply cooked and eaten hot or cold.

    Claudia Roden has a wonderful recipe for simmering them in a very little water with a  few fresh dates, then finishing off with butter or olive oil and salt and pepper.

    It’s easy to chide the multinational supermarkets for promoting out of season fruit and vegetables, but our London market gardeners were just as crafty; there was big money out there and customers willing to pay for asparagus in early spring, tender young peas in April, long before the main crop, hothouse fruit, and abnormally precocious cucumbers and melons.

    Londoners also provided the ‘night soil’ from privies and rubbish heaps to manure these costly crops.

    What is now Pimlico was once a network of intensively cultivated plots, the Neat House gardens, and our own Mare Street was surrounded with garden plots and orchards, where Sarah Chandler nearly copped it.

    Hackney was a good place for nurseries where exotic plants and palms were grown for sale, and Lord Zouch’s physic garden, run by Matthias Lobel, a world famous botanist from the Low Countries, flourished in Homerton High Street.

    The Four Elements: Earth by Joachim Beuckelaer. Courtesy of the National Gallery
    The Four Elements: Earth by Joachim Beuckelaer. Courtesy of the National Gallery

    The painting immediately above shows the sort of vegetable stall that the advanced horticulture of the Netherlands could produce, a stunning celebration of enjoyable products, even allowing for the symbolism that both artists and their clients enjoyed.

    Symbols

    The vegetable kingdom is not lacking in phallic symbols, but some like the cucumber have double meanings, where it can signify the purity of Christ, and the apple that it is often associated with the fecundity of his mother.

    The hothouse grapes might not have been displayed on every fruit stall, but they were out there to symbolise both the chastity of the virtuous young market woman, or the fruitfulness of a respectable married woman.

    Fat-bellied cabbages and melons speak for themselves. Carrots and roots sit athwart each other in the shape of a cross, another possible religious meaning.

    Late autumn fruits like mulberries are shown alongside early cherries, and various kinds of apple, the overall effect not unlike the more enterprising greengrocers of Hackney today.

    Hackney offers most of the seasonal vegetables – from asparagus in whole food shops and most supermarkets, to ‘greens’ of various kinds.

    It’s always irritating to be told that the only way to enjoy asparagus is to cut it just before use and run with it from the garden to a pot of boiling water in the kitchen. As if.

    And even more irritating to have to boil the living daylights out of it the English way, before dunking it in slowly congealing melted butter, which oozes inexorably from fingers to wrist to elbow to armpit… such a mess, cancelling out the guilty thrill of eating with one’s fingers, when a sharp knife and fork are surely what nature intended.

    But better still is to roll the trimmed and dried spears in good olive oil and salt crystals and roast or grill or barbecue, and eat with just a grinding of black pepper. Or you can sweat them slowly in plenty of butter until just tender, then serve with freshly-grated parmesan cheese.

    Or scramble some beaten egg and cream into the butter-softened spears.

    A good risotto is easily made with a stock made from the discarded woody ends of asparagus spears, along with a chicken carcass or some wings; the rice sautéed in butter or olive oil, then doused with the broth, and then the tender spears, cut into one inch lengths, incorporated into the rice after about five minutes, and the risotto, with more broth stirred in from time to time, served with more butter, and generous amounts of parmesan.

    Gillian Riley is grateful to Malcolm Thick for sharing his gleanings from Hackney’s rural past.

  • Stutterer: film review – universal themes in modern East London

    Stutterer (2) 620
    Reclusive: Matthew Needham is Greenwood in Stutterer

    East London may with some justification be able to call itself a world leader when it comes to making short films these days.

    That is because East London films have triumphed for two years running at the Oscars in the category of Best Live Action Short Film, arguably the most prestigious award a short film can receive.

    This year 12-minute short Stutterer emerged victorious in the category, emulating the success of James Lucas’s The Phone Call the previous year.

    Directed by Benjamin Cleary, the film is about a reclusive typographer with a severe speech impediment whose inability to communicate effectively in everyday situations severely hampers his self-esteem.

    Stutterer 620

    Greenwood, played by Ben Whishaw-lookalike Matthew Needham, is a young twenty-something East Londoner who can’t even phone his broadband provider without them assuming it’s a nuisance call and hanging up.

    When someone asks him for directions, he feigns deafness by responding in sign language to avoid a potentially embarrassing situation.

    Yet the voice inside his head is clear, articulate and witty. He makes up poetry, his bedroom is full of books.

    The place where Greenwood can most be himself is on the internet, where he has been chatting with a girl for six months over Facebook. But when she decides to visit London and wants to meet up IRL, Greenwood is crippled by fear.

    Stutterer (3) 620

    With funky patterned shirts buttoned all the way to the top, Greenwood looks every inch the modern East Londoner as he scouts Broadway Market, rehearsing what he’s going to say, leading to the final scene outside the Star By Hackney Downs pub, and a clever and unexpected plot twist.

    Only the viewer is privy to Greenwood’s inner thoughts and wry observations, which we hear in a voiceover, often while Needham’s face, the picture of self-pity, gazes back at us.

    But our sympathy is derived less from Greenwood’s condition than what it comes to represent: the struggle to bridge the gap between the ‘real’ person inside and the one the world sees – a universal theme no less, in this subtle and tender film.

  • Will Volley, Hackney graphic novelist and creator of The Opportunity – interview

    Will Volley, Hackney graphic novelist and creator of The Opportunity – interview

    A panel from The Opportunity, Will Volley's graphic novel.
    A panel from The Opportunity, Will Volley’s graphic novel.

    Multi-level marketing, sometimes known as pyramid selling, may not strike most people as a gripping subject for a debut comic noir. But then Will Volley is not most people. After publishing graphic novel versions of Romeo and Juliet and An Inspector Calls, the 35 year-old took a year off work, moved back home and wrote his own comic.

    The Opportunity is about Colin, a successful door-to-door salesman on the verge of getting his own sales office. One day everything changes and Colin’s sales team is given a new all-or-nothing target, and only five days to achieve it in.

    Volley explains why door-to-door sales made such a good subject, the Stoke Newington schoolteacher who inspired him and the fallen footballer he’s covering in his next novel.

    How much of this story was drawn from your own experience?

    My experience in a multi-level marketing company was limited to about two or three weeks. I enjoyed it – being a navel-gazing art student and coming into that climate was great because it was different, and the people there were enthusiastic. But there were things about this company that didn’t make sense: all the staff lived together in the same flat and it felt a bit like a cult. Through research I found support groups online for people who’d worked in this company, and then I devised a plot from interviewing ex-managers.

    Did you ever worry about how you were going to make a gripping thriller about multi-level marketing?

    No! When I was working there I thought: this is the perfect premise for a story. But it took me a while to come up with a plot I was satisfied with.

    How’s the political landscape and the job market changed since you worked for this company?

    It’s the same. A funny thing happened when I had literally just finished the book. I got a knock on the door, got up from my desk and went downstairs, and there was this young salesman. His pitch was word for word the same one I used ten years ago. Talk about weird.

    The-Opportunity-cover-image-620

    So I sort of cut him short and said, look, you need to be careful. He looked startled. I felt bad about it because he looked disappointed. Young people want to be optimistic and they offer incredible loyalty. That’s what this company provides: it gives you a thick blanket of security and the managers big you up. It’s hard to say how common these types of companies are now, but at the book launch someone came up to me and said they had spent a day with these guys in Tottenham.

    You mentioned in another interview that one of your teachers brought Daredevil comics into school.

    That was a real turning point. I went to William Patten Primary School and I had a teacher who was an ex-punk. He introduced me to weird things you wouldn’t expect kids to read and seeing that artwork by that specific artist changed everything for me. I fell in love with it and my own drawing just kind of grew from there.

    What are you working on next?

    A story about an ex-footballer who turns to a life of crime. I read a statistic that 40 per cent of ex-footballers go bankrupt within five years of their career ending. Football’s all they know and if they’re trying to maintain their lifestyle lots of them end up gambling, getting into debt and some even go to prison. It’s going to be much more personal: another falling from grace story, but this time a redemption tale.

    The Opportunity is published by Myriad Press. ISBN: 9781908434791.
    RRP: £12.99. Volley will be signing copies at the East London Comic Arts Festival (ELCAF) on 11 June.

  • Boceto review, Hackney Central: Spanish class

    Boceto review, Hackney Central: Spanish class

    A selection of tapas at Boceto
    Traditional and contemporary tapas at Boceto

    Boceto, a café and brunch place by day and cocktail and tapas bar by night, has opened on Mare Street at the former site of quirky French bistro Bouchon Fourchette.

    A little too far south of Hackney Central and too far east of London Fields to be located in a high density trendy eatery zone, Boceto nevertheless stands in good company next to infamous and hallowed institution The Dolphin (which might explain why the bottomless Prosecco brunch is not loudly advertised at street level).

    A sister venue to two other restaurants in the revamped Brixton market, Boceto, like its siblings, focuses on signature cocktails and small plates.

    The interior invites customers to linger: with the front shutter up, one can sit al fresco at a g-plan coffee table and observe the delights of Well Street junction.

    Further inside the long and narrow space, the decor is simple and intimate, dusky and candlelit after dark: a fitting ambience for perusing a drinks menu.

    Smashed avocado with fresh chillies and sunflower seeds on pan de coca
    Smashed avocado with fresh chillies and sunflower seeds on pan de coca

    Whilst its south-of-the-river counterpart Three Eight Four has an eccentric, almost humorous menu, Boceto sticks to the classics.

    The offerings don’t stray from traditional tapas fare, so chorizo, patatas bravas, gambas, croquetas, padron peppers and calamari are all there.

    But the servings were generous and all the dishes were good. The chuletas (grilled lamb chops) stood out, served pink with pungent herbs and pockets of succulent fat, as did the shiitake and chestnut mushroom croquetas.

    True to the version served in Spanish churrerías, churros were served with a hot chocolate pudding rather than molten chocolate sauce. The service throughout was warm, knowledgeable and helpful.

    What the food menu lacked in range was more than made up for by the kooky cocktail list, where institutional confidence shone through. Helpless to resist any cocktail that has chilli in it, I chose the Abuela, which contained mezcal, chilli, raspberries, chocolate bitters and ginger ale.

    My dining companion wistfully opted for the Bouchon Fourchette, in tribute to the closed restaurant and the steak tartare it took with it.

    This was a fluffy pink concoction made of gin, creme de rose, egg white, lemon cream and lavender, and served with a macaroon.

    With other enticing combinations like the ale-smoked Old Fashioned and the Gunpowder Negroni, I would recommend taking advantage of the £5 special introductory price for cocktails during May and June.

    Boceto
    171 Mare St, E8 3RH
    bocetohackney.com

  • ‘That’s me in the painting’ – how Stik became a street art icon

    Stik – Union Square 620
    Union Square by Stik

    I make it to Foyles at 6.30pm on the dot to find a queue spilling from an excited throng in the auditorium. The line runs down the stairs and out into the cafe, where a second – non-priority – queue begins. “It’s the busiest book signing I can remember,” a flustered employee tells me.

    The heaving crowds have turned out in force to pick up a copy of street artist Stik’s eponymously-titled new book and get it signed by the mysterious man himself – who, perched on a raised platform, is donning a paint-spattered shirt, dark shades and a black leather cap.

    His heavy, rose-coloured publication documents a curiously affecting, politically-motivated body of work that relies primarily on basic stick figures. It’s a portfolio, so to speak, that first started to appear on Hackney’s walls more than a decade ago and has since spread across the globe.

    A few days later, we chat on the phone and he’s as genial as he was with fans earlier in the week. “It was incredible”, he says of the event. “I was only supposed to be doing an hour, but in the end I stayed there for about three.”

    A Child Watching Over a Sleeping Parent by Stik
    A Child Watching Over a Sleeping Parent by Stik

    Softly spoken and oozing enthusiasm, Stik is keen to talk about his connection with this publication’s sister title, the Hackney Citizen. Roughly half a decade ago, whilst living in St Mungo’s Hostel on Mare Street, he began a fruitful collaboration with the paper, which, he explains, gave him a structure that would eventually lead to his first book.

    “I’d speak to the editors and we’d pick a local news story. I would find a specific place relevant to that story, do a mural and then I’d write a brief column explaining why that painting was there and what news issue it was relating to,” he says.

    “Doing that monthly piece really made me think about street art on a much deeper level and what sort of impact I could have on the community – how I could represent my community through art. So that was the catalyst for the book.”

    The original publications make for an interesting stand-alone project. The first he sends across to me includes an image of Pole Dancer, a 2010 piece scrawled outside a strip club in Great Eastern Street. The work portrays one of his signature black-and-white stick people swinging, eyes closed,
    around a pole.

    “That was in reference to Hackney Council’s move to clamp down on what they deemed indecent sex clubs,” he says. “They cut out a lot of the healthy, consenting adult subculture in Hackney under the guise of trying to curb sex trafficking… So, yeah, I did that piece to sort of celebrate the kink culture and just draw reference to what
    was happening.”

    Pole Dancer by Stik, published in the Hackney Citizen (November, 2010)
    Pole Dancer by Stik, published in the Hackney Citizen (November, 2010)

    Other examples of Stik’s work that were produced during that time include Lovers, Waiting Room and Children of Fire; these were done in response to the council’s eviction of a Dalston Lane ‘queer squat’, cuts to the NHS, and the “civil unrest… triggered by the police killing of Mark Duggan”, respectively. He goes on to explain that, as well as conveying a wider social message, each mural contains a narrative personal to him.

    Of Lovers, which shows two androgynous figures embracing against a red background, he says: “The squat was a safe house for people from oppressive regimes, for queer and transgender people who were not safe in their home towns or home countries… There was no real service like it within the mainstream infrastructure – this was something that was lacking.

    “But it was also a place which I had a personal connection with. I belonged to that community, you know, that’s me in the painting. A lot of it is my story – it’s my experience of being marginalised, of being oppressed and how that relates to society at large.”

    Climate Change, by Stik
    Climate Change, by Stik

    It’s interesting that Stik describes his work as a means of telling his own story. Outside of his art, biographical details are sketchy. His email moniker is simply Stik Person and he stresses a set of “strict rules” when it comes to answering questions about his past – it’s not even known where he originates from.

    He does, however, talk relatively freely about his time in Hackney, which, going by artistic evidence, began sometime around 2003. He explains that when he first arrived he spent time squatting in London Fields Lido, during the period leading up to its renovation and reopening in the mid-2000s.

    “I used to live in the changing rooms there,” he says. “I slept in an art shipping case that I’d salvaged from Momart, the art shipping company. It was a plywood packing case that according to its label once contained a Kandinsky and was destined for, I think, Claudia Schiffer, somewhere in Hollywood.”

    At this point, I’m not sure if he’s pulling my leg, but he goes on to describe what sounds like a dark, difficult and deeply informative period of his life.

    “I was homeless for many years and I was very cold and hungry for a long time,” he says, “but I would always find abandoned buildings. I didn’t have any reason to sleep in doorways in Mare Street because I always managed to somehow get through the door.”

    A Couple Hold Hands in the Street, by Stik. Photograph: Claude Crommelin
    A Couple Hold Hands in the Street, by Stik. Photograph: Claude Crommelin

    He refers back to the Pole Dancer piece: “It’s very personal to me. When you’re homeless you find all sorts of ways of making a living and I’ve had to make ends meet through all sorts of things. That’s why I identify with the struggle of sex workers in Hackney and the stigmatisation that they’ve had put on them.”

    The more he talks, the more enigmatic and fascinating he becomes; the more complicated his work is. He describes with zeal his many experiences painting abroad – the highlight, for me, being a set of wind turbines he worked on in Norway – and what the future holds now the world is interested.

    “I feel very warmly embraced by the communities that I have worked with,” he says. “I feel very grateful as an artist for that experience. It’s an exciting journey – it’s a huge responsibility, but I do feel that it’s my responsibility as an artist to respond to the current political state of affairs.”

    Stik’s book, which forms one mammoth project, is a triumph. His pared-down, sublimely minimal approach delivers touching snippets of human experience and explores private city space in a dramatically public manner. He’s both engaged and engaging; it’s easy to understand his fast-rising popularity in the art scene.

    As we tie up our conversation, Stik makes an obscure reference to Somerset, and when I ask more he shrugs it off and mutters something about friends and some work he’s got going on there.

    I can’t help but feel it’s a hint at a previous life; another scrap of the obscure biography he’s been scribbling on walls everywhere. I can’t be sure, but it’s fun to speculate.

    Stik is published by Century. RRP: £20. ISBN: 9781780893334

    Stik’s Print Launch is on 24 September from 5-8pm at the Education Centre, Homerton University Hospital, Homerton Row, E9 6SR