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Contents

This issue’s interviews include:

p.6-7 p8-9p.22-23

p.12-13p.18-21p.28-29

Our bedroom articles continue with:

Entertainment in the form of:

p.24-25p.26-27p.13

NEST IIIThe Mexican issue

David GaskellCathy demonchaux

Frida kahlo

Mary oliverpaisley boyd

greta madline

balloonscomics

mystic miguel

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NEST Magazine feels it is important to give every student a voice and every course the chance to express what they do and what makes them different to everyone else. From courses that are ‘arty’, ones that are more technical, and to ones that we still don’t quite understand… cough VisCom...

The bedroom is often seen as the most private and personal room, especially so when you live in such a small flat. Being away from home, it is often more important to make these small spaces your own home, and build yourself your own nest.

We look into students’ bedrooms, and will carry on doing so for the next few issues, to show off their talent (obviously), but also to have a sneaky

peak into the lives of artists and other students behind closed doors. We’ll see what goes on at home when you aren’t able to work at college.

Artists are usually the most expressive with their rooms, which makes this series so exciting for us, as we get to see such a wide range of styles, which surprisingly can be quite the opposite of what we would first expect of these people looking at their work. We hope this breaks a few of your initial stereotypes when thinking of what students from other courses are like, not all Graphic Designers are orderly, not all Games students are boys, not all fine artists melodramatically flounce around their room, yes there may be a few cases where these are true, but the majority of the time we are very mistaken.

Bedroom Ar t ic les

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Mary Oliver is in her final year of a degree in Digital Film, Games and Animation.

How did you get into ‘art’ as a subject?My mum has always been creative and organised craft sessions for children’s groups. I’ve helped at these since I was little and have always enjoyed it.

So do you work well with groups?For ideas I work best in college with people, for producing the work I am best at home where I can concentrate.

And what’s your setup?I have two desks next to each other, one for drawing where you can adjust the angle with a light box in it, the other for my computer based work. I have 3 monitors as my 3D work needs to display so much information; one of these monitors is a Hanvon drawing tablet where I can digitally draw on the screen.

And where do you source your ideas from?My main area of influence is my work and voluntary work. I work at a children’s breakfast club, volunteer at a Rainbow guides Unit and also work with disable adults. I find this work influences and inspires me as I am able to see a broad audience’s opinion to what they like. My work is very influenced by what an audience would enjoy.

Whose work do you admire the most?Marjane Satrapi creator of Persepolis, initially a graphic novel turned into animation. Not only is her work visually beautifully but she uses her own experience as narrative creating strong, well rounded and believable female characters you can admire.

What are your plans for the future of your work upon graduating?Freelance work and apply to work in animation companies, continue studying and producing work.

Contact:

mary@marymademe.comwww.marymademe.com@mary_made_me

Mary Oliver

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Paisley Boyd is in her first year of a degree in Fine Art.

Describe yourself and your artistic practise.I am a person who becomes very absorbed in their work; I find fine art allows me to explore ideas and ways of thinking that relate to me. In doing so my work takes many forms in the sense of media used, all coming together to create these environments. I am mainly drawn to sound as it surrounds us, it is interesting what you hear when you spend the time to stop and listen.

Where do you find you work best?I work best in a range of places, mainly my room even though I can become distracted. However, I am able to keep inspiring material around me. It also contains my mess as I work, it becomes a space I can call my own.

Describe your work area.Messy, but organised mess, it may look chaotic but most of the time I know where things are. It contains a lot of half finished to do lists, small pictures that I can look at and a big type writer squeezed in, also a big pile of notebooks full of ideas and scribbles at the end of the desk.

Do you enjoy having other people work around you, or do you feel this distracts you?I love to talk especially about art and films so I can find it distracting if I am working against time but on the other hand I find it inspiring to hear what others are saying.

Do you find that things around you influence your work? And what would you say that your main influences are?Whatever environment I am in becomes a very influential place. I tend to record and

use sounds in my work, as they become unpredictable and unknown which is what I like about this way of working.

Who’s work do you admire the most?I don’t tend to have one favourite; I suppose a few artists that I do admire and influence my work would be John Cage, Pipilotti Rist and John Smith. Each of their work represents an interested of mine, John Cage for his experiments with sound and the methods of leaving the outcome of the piece to chance. Pipilotti Rist in the way she takes flat moving images and creates environments through her installations that surround you, becoming an experience especially after seeing her exhibition at the Hayward gallery. And lastly John Smith whose films use a playful manner in which to document his environment around him.

What is the key equipment and supplies you need to do your work?My experiments start off as paper based ones, using this I draw, cut and apply inks to show my ideas. Then I use these as the basis for my digital media work, exploring ways to represent what is on the paper. From this using audio recorders and cameras to capture it and Audacity and Final Cut Pro to edit it. Once at this stage I find ways of presenting the work through speakers, monitors or projectors.

Do you have any hobbies outside of artistic ones? I do a lot of reading and watching films in my spare time, in which I admire a lot of director’s work such as Wes Anderson, Tim Burton and many others. I also practise circus skills with CircSoc in Leeds where I have tried out a range of things such as a unicycle, juggling cigar boxes and fire breathing.

Paisley Boyd

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Is there anything that you would like to try?Mainly things to do with films, working on sets more, making experimental films, finding a way to tie in my passion for films and art together.

So what’s with all the chairs?The chair piece was an exploration of how to present sound within a specific site. The chair hosted a sound documentary installation where I invited the audience to sit, listen and interact with the piece. It also questions how documentary can be considered as an art piece through exploring style and placement of the work.

In my work I liked to explore a range of methods and thoughts including the sense of chance in the outcome of the exploration, the journey this takes me on, audience interaction and humour.

Contact:

pb109199@students.leeds-art.ac.uk

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David Gaskell is a Graphic Design Level 5 student who we selected to be the cover artist for this issue of Nest. We loved his cover design so we thought we’d ask him about his work...

Do you have any themes running through your work?Themes? Generally no, I just like to make myself laugh.

What kind of briefs do you like then? Do you choose and pick?Choose and pick. I don’t like college briefs, I just think they’re too long and drawn out and dull. I like quick briefs, quick turn around briefs, anything more than a week just gets lost on me. I’m easily bored.

So you like to do briefs that are funny?No, not funny briefs, I like the most boring briefs, and I just do something that makes me

laugh. Not something funny, just something that makes me laugh (I’m not a very funny person). I don’t like branding briefs, because they’re tedious, I don’t like web design briefs, I don’t like any briefs that go on for 3 months, but other than that I’ll give anything a go. I don’t really have any set things that I do apart from make myself laugh and try to take the piss at all possibilities, but it has to be subtle, keep it so they like it.

What about the cover design then?Again I just made myself laugh. There were some other versions but I didn’t think they were very appropriate so I stripped it back and did something a bit more obvious.

Would it be alright to get some of your ‘less appropriate’ images for this?Yeah, you can have all of them. They’re not like, ‘far out’ inappropriate, but you know, my mother didn’t like them.

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Is there any particular music you listen to when you work?I listen to my house-mates. She plays music really loud so I just catch the back end of that. I don’t know what it is but I’ll ask her for the name of the song she’s been playing recently and e-mail it to you.

Do you have any pets?I have one guinea pig and my girlfriend has another guinea pig, they’re called George and Beast. Beast is a ginger pig, George is a grey pig, and they’re two of the best purchases I’ve ever had, £20 each. I’d recommend a guinea pig.

Contact:david@da-vid.co.ukdg105800@students.leeds-art.ac.uk

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Cocktails

cocktailsExtra Spicy Bloody Mariayou will need: 60ml tequila

120ml tomato juice

3 dashes of hot sauce

3 dashes of Worcester sauce

Black pepper

Jalapeno sauce

w wwwwwone for those who enjoy getting spicy...

Mix the tequila, tomato juice & Worchester sauce together first, then throw in the rest.

Tequila Sunriseyou will need: 60ml tequila

120ml orange juice

20ml grenadine

w ww

Pour your tequila and orange juice over ice in a tall glass. Gradually pour in the grenadine, and watch the magic happen. Don’t stir, just enjoy!

Tequila ‘n’ Tonic

60ml tequila

100ml tonic

1 lime

w ww

you will need:

A Mexican take on the classic G&T. Pour tonic and tequila over crushed ice and

squeeze in lime juice to taste. Garnish with a lime.

Maya Magic

30ml pineapple vodka

30ml vanilla vodka

15ml cranberry juice

15ml Cointreau

w www

you will need:

Combine all of the liquid goodness in your cocktail shaker and add a handful of crushed ice.

Shake it like there’s no tomorrow, and pour into the nearest Martini-shaped glass. Serve with kiwi.

Recipes and photography by Hannah Morris & Tom Hoare Illustrations by Sally Lambert Page layout by Vickie Bennett

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Cocktails

cocktailsExtra Spicy Bloody Mariayou will need: 60ml tequila

120ml tomato juice

3 dashes of hot sauce

3 dashes of Worcester sauce

Black pepper

Jalapeno sauce

w wwwwwone for those who enjoy getting spicy...

Mix the tequila, tomato juice & Worchester sauce together first, then throw in the rest.

Tequila Sunriseyou will need: 60ml tequila

120ml orange juice

20ml grenadine

w ww

Pour your tequila and orange juice over ice in a tall glass. Gradually pour in the grenadine, and watch the magic happen. Don’t stir, just enjoy!

Tequila ‘n’ Tonic

60ml tequila

100ml tonic

1 lime

w ww

you will need:

A Mexican take on the classic G&T. Pour tonic and tequila over crushed ice and

squeeze in lime juice to taste. Garnish with a lime.

Maya Magic

30ml pineapple vodka

30ml vanilla vodka

15ml cranberry juice

15ml Cointreau

w www

you will need:

Combine all of the liquid goodness in your cocktail shaker and add a handful of crushed ice.

Shake it like there’s no tomorrow, and pour into the nearest Martini-shaped glass. Serve with kiwi.

Recipes and photography by Hannah Morris & Tom Hoare Illustrations by Sally Lambert Page layout by Vickie Bennett

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Is this what you imagined yourself to be doing in the future, when you were studying at University?I didn’t imagine I’d be doing anything else. I always wanted to be an Artist, but having said that, when I left Art school 30 years ago nobody really thought , “I could be an Artist” as a career. It just wasn’t really what people thought. So I couldn’t have imagined I’d be doing what I do today for a living back then.

Do you think it’s better to get your work seen at a lot of places or just to concentrate on hitting the “right” places?I think you need to just do your work without thinking about that stuff. I know it sounds a bit pious, but you should just focus on making your Art interesting. Whether you’re a writer or a painter, whatever you do you should work hard at making it. I genuinely believe that people can see integrity. They can smell it. You know if you’re not really giving it everything and so does your audience. I’ve never really thought about placing my work. I have no strategies for that kind of thing; I’ve always just gone along with whatever happens.

An Interview With Cathy DeMonchaux

Cathy DeMonchaux is a critically acclaimed sculptor who has been a practicing artist since 1980. She gave a talk as part of the Creative Networks programme running in college, and we managed to catch up with her the following morning in the Henry Moore Institute...

Kai

Cathy

Lydia

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How would you describe your “creative process” when making a piece? Where do you draw your inspiration?Life. I try to live life. I have relationships, win some, lose some, all that kind of stuff. That informs my mood. Being in touch with your emotions is important. Looking at the world: what’s happening politically, being angry about what’s happening politically, you know? Seeing bits of dust on the street. All kinds of different things all the time. As an Artist you are always out looking for clues, visual, emotional, different things about the world that appeal to you.

It always starts with things I’m thinking, life I’m living. I write a lot. I wait a lot, then I’ll wake up one morning and draw a little picture of something and then maybe two years later I’ll end up making something a bit like that little picture. I keep a book that I sketch and write in. I write much more than I draw. For me writing is a pleasure because I don’t have to show it to anybody, so I can say anything. That then becomes the work, in a different way later on.

Your practice is constantly evolving and you have recently taken a “sabbatical” from the Art World. Do you feel you’ve reached the next stage in your practice?As an Artist, all sorts of different demons drive you. Producing work for the Art World, as it is now, is a very commercial thing. It’s very money driven. It’s not really about things that I’m interested in; it’s more about making a product very similar to the last one and selling it for millions and I don’t find that terribly interesting. Probably for the first time in my life I’m not thinking, “I must have this deadline, I must make work for this show.” I just want to have work that hasn’t been driven by any deadline. Creativity is often helped by a deadline, because it pushes you to challenge your emotions, it makes you a little more adventurous because you know you have to get something done. It’s been nice to go slowly for once. It’s a nice position to be in and I’m very lucky to be in it. I don’t need to make much work to survive and that is a real privilege, so I can say no to things that I don’t need to do to get by. But again, as an Artist, there is a part of you that needs an audience. You think, I must have some humans looking at my work again, you know? So to answer your question: it’s boiling in the pot.

Have you been involved in much artistic collaboration? Have you ever considered working with a moving image artist, for instance using your models or scenery pieces in a stop motion animation? I haven’t considered working with an animator. The only collaboration that I’ve really done was with musicians. A group developed this 3D sound-scape system and were looking to work with Artists to try to do something visual with it.

Kai

Cathy

Lydia

Cathy

Kai

Cathy

Art is about standing in front of something and being emotively engaged with it. It’s not a thing you can write an instruction manual for.

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The technology was new back then, but basically it was a system where you could design sounds so that the speakers would be in the corner of the room but the sound would be in the middle of the room, you could physically move the sound. So you could have physical conversations in the space as if there were three different people but actually there’s nobody there. So we did this collaborative project with my work, and my writing and lots of different chanting from around the world, religious calls to prayer, then the guys mixed that all up and made it work.

Actually, I did another collaboration with Peter Gabriel, which I guess was a very early computer game. That was with Helen Chadwick, and Yayoi Kusama. It was kind of nice because none of us really knew what we were doing. It was some weird music of Peter’s and our art mixed in with this computer game technology, which was very new at the time. But then the company who was making the game bottled it and changed the ideas so it became neither art nor music, or even a proper game in the end. It wasn’t even that long ago, maybe 1996? It seems crazy now.

Which Artists inspire you now?I think a lot of people influence and inspire you. It’s often the dead Artists really that give you some perspective. The problem with contemporary artists, I think, is that as an Artist you are quite arrogant in a way. You’re always thinking about your own job. When I gaze at someone else’s art, someone that is my contemporary, you are almost looking for what’s wrong with it. Not in a horrible way, but objectively, you are always looking to improve your own work so you end up unpicking the work of others to see what’s bad and what’s good. You are almost trying to find fault with it so you can understand how to make it better. Which I suppose means that any person’s artwork is influential because you are always measuring yourself against them. Not to say what I do doesn’t have massive holes in it, but you are always trying to figure out what works. I wouldn’t say I’m in love with another contemporary artist’s work, but that’s not to say I don’t respect or learn from many of them.

Last night you said you would call yourself Feminist, but perhaps not a conventional one? It was probably because there is a kind of stereotype nowadays of a Feminist being this annoying, strident female person that nobody really wants to engage with. In truth that is an outdated opinion. It’s hard to imagine now, but say for instance with my Mothers generation, they really had to fight to get the men that they lived with to do the washing up, you know, quite straightforward household tasks that were perceived to be “Women’s work”. Both my parents went to work, but my Mother would come home and feed all the children, clean up after them, shop for them and my Dad didn’t do any of those things. Women had to be very assertive. There was this sort of ‘bra-burning’, very strident image of Feminists at the time, which always seemed a little contemptuous to me. But obviously a feminist, in the true sense, is someone who believes in equality, so on that level yes, I am a feminist.

LydiaCathy

Kai

Cathy

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If there were one piece of advice you would give to Art Students today, what would it be?Having integrity and trusting your instincts. I think being an Artist is quite a weird thing to be. We are quite a special breed. I mean if you go back to the time of cave painters, they were the ones who weren’t allowed out because they would have been eaten. They were probably told, “You go to the back the cave and make spells, draw on the walls and don’t interrupt us. You keep away the evil spirits – that can be your job.” But there must have been a worth for the Artists back then. For any Artist, you have to have faith that being a bit odd goes with the job description. It’s all right if you are strange.

Lydia

Cathy

Interview by Lydia Fothergill and Kai West

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Greta Madline is in her second year of a Graphic Design degree.

Describe yourself and your artistic practice. Grental - a little bit positively mental and I’m in the Graphics department which (in my opinion) is more and more exciting every day. Sometimes a bit overwhelming with the work flow but if you take the stress and hard work and make it into something fun - then you’re fine. How did you get into ‘art’ as a subject, what triggered this interest? Long story short: I was always ‘rubbish’ in arts, at least my art teacher thought I was. I once got 2 (the lowest mark in Lithuania) from a painting that I did. That is when I realised I actually am pretty good at it and my art teacher is just envious of my talent. (just kidding!) Though I did get quite upset, I’ve never given up and I believe in myself and my abilities.

Where do you find you work best? I don’t think there is a environment that I can solely say I work best in. I feel I can generate ideas anywhere work-wise though I like changing places - even galleries can be a really good work space. While I lived in London I developed this temporary London-ish habit of going into galleries and just spending all of my time next to the walls sketching or writing down ideas. I also like café’s. Ones that have books in and nice paintings and have really nice ladies working there whom don’t come up every 10 minutes asking if you’d like anything else and let you get on with your work. I also enjoy our studios in the evening when it’s more empty and quiet. Describe your work area. I have a corner that I created by placing my wardrobe next to the table. So it’s a small cubical. The table is absolutely tiny in our house. I like writing down a lot of stuff and sticking it to my wall. No visuals though - don’t really

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know why. On the table there’s my drawing tablet that is all dusty and sad now and my computer. Next to the table there is a window and just underneath it there are my books and my notebooks. It’s all usually organised and tidy, I hate mess! I usually carry everything I need with me, that’s why whenever you meet me I’m probably going to have a million bags on me. I believe that creativity can hit anywhere so you better be prepared. You don’t want to miss out on your greatest idea, just because you didn’t have a pen and a notebook! Do you find that things around you influence your work? And what would you say that your main influences are? Of course! I think if you are a creative there is no way you can be not influenced by your surroundings. I think the biggest motivation in life comes from the things you experience, the people you meet, the places you visit and the things you hear and see. Usually I find a new influence for each project because each project is different so you need to treat and approach it in alternative manors. Who’s work do you admire the most? It changes. I don’t think I have one constant designer or studio or artist that I admire. At the moment I really like installations and interactive design. I’m looking at designers and studios that relate to my creative interests like Jessica Walsh, Julien Vallee or Snask. What are the key equipment and supplies you need to do your work? I only need my creative mind, a pen and a journal. Though to actually work on my design concepts I need sheets of paper, pencils, pens, markers, a computer and the rest depends on the project. Do you have any hobbies outside of artistic ones? I used to until my college life took over all my spare time! Now the only things keeping me

sane is traveling round Leeds, watching movies, reading books, going to concerts, running when it’s sunny, which in Leeds happens rarely, and sometimes picking up my bass guitar and pretending I can still play it. Is there anything that you would like to try? A lot of things! I would like to try dancing or maybe yoga. I really like trying new things. That actually might just be my hobby. Yep, trying new things is my hobby! What are your plans for the future of your work once graduating? It’s a secret. I’m afraid if I tell won’t happen. But I do have a plan and I’m really exited about it! I’ll let you know when I’ve succeeded!

Contact:greta.madline@gmail.com

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Balloons are underestimated. Balloons are an icon of childhood. The look on the face of a child at the fair when they receive a big shiny helium-filled balloon is incomparable, and unfortunately you rarely get the same reaction from an adult. What is it exactly that makes a balloon so appealing? Perhaps it’s the translucency of it and the way it appears to glow with a light of its own – a beacon of hope; a celestial orb. And that brings me to another thing: It has to be a helium balloon. A balloon filled with mere air, its innards speckled with flecks of phlegm from the inflator’s gut, is an anti-climax when compared to its brave, intergalactic brother-from-another-inert-gas. Definitely, the balloon that floats above your head is always more appealing than the one that falls to your feet in a patronisingly slow swoop.

A balloon is everything we long for in life. For a child, such a majestic object is something to look up to, literally. Like a sky scraper, or a bird, or an adult – children respect things that are bigger than them, they long to be it. And for an adult, the balloon is the childhood they wish to have back. It is colourful (the life of an adult is rarely colourful), mysterious, and when you inhale the gas your voice goes squeaky like that of a child. Whether it’s your grandma inhaling the balloon after one-too-many Sherries at New Year, or a Geordie Lass sucking out the insides of an inflatable phallus on a Hen Do; the result is hilarious. Who wouldn’t want to act like a child again?

Balloons have their dark side though. The fear of balloons is called globophobia, and is fairly common. It all stems from the fear of the balloon popping, which is more accurately linked to a form of phonophobia – fear of loud noises. But globophobia isn’t about noises

at all; it’s the fear of the destruction of one’s childhood. All that joy you experienced as a child looking up at that balloon – all your aspirations, your appreciation of growing up, maturity, parental figure, respect. All gone in a startling explosion, and then all you have are sore ears and a piece of limp rubber that resembles a condom on a string. And the very worst part is the helium inside that would have been able to recapture your lost youth with a hilarious squeaky voice is also gone. And it’s never coming back.

I’m not alone in this. Poet Laureate 2009, Carol Ann Duffy, used the line ‘a red balloon bursting in my face’ to convey Miss Havisham’s anguish and anger at being jilted at the altar in her poem Havisham, 1998. Unless the Great Expectations character, who the poem is based on, has a severe case of globophobia, we can presume that Duffy is using the balloon as a violent metaphor. Similarly, the Parisian film Le Ballon Rouge, traces the story of a young boy who is followed – and then follows – a red balloon around Paris. On his adventures he meets a girl with a blue balloon, and finally has his balloon destroyed by bullies. It’s a lifetime in a day and a poignant tale of life, love, sexual chemistry, rivalry and loss. And I, for one, think a red balloon is a much better allegory than some of the symbols used by today’s artists.

Why not give it a go? For that concept you can’t quite articulate, that motif that doesn’t quite work, or that metaphor you can’t get a grasp of. At least consider whether a balloon says what you were thinking of. You never know, LCA in years to come may be recognised as the beginning of The Balloonist Movement.

[Helium is hilarious. 2He 2He 2He]

Balloons

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Comics

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Hello Frida, it is a pleasure to talk to you today. I would like to begin by asking where your interest for painting originated from.Hello, well, I would have to say my father. I have always admired his work as an artist/photographer; my early memories were of watching him paint and looking through his work. As I got older he taught me some photography techniques which helped me view the world creatively.

So you’ve always pursued creativity?Well, my interest in painting never left me; I just felt I could do other things too. When I was 18 I was involved in a tram collision and I was lucky to survive. After that I was confined to my bed for months - it was from there that I started painting. It helped me deal with the boredom and pain I was experiencing. This turn of events gave me a whole new energy which I began putting into my paintings. I am determined to paint as there is joy in what I do no matter the circumstances.

This being the starting point for you as a painter, were there other events that influenced your work?My work seems surreal at times but I only paint my reality. I paint myself because I am so often alone and because I am the subject I know best. So the events in my life are reflected in my work.

Is there any event in particular that had a big impact on you and your work? There were many: my marriage to Diego was one of them. He features quite often in my work, although my mother disapproved of our marriage: she said it was a paring of a dove and elephant, but I love Diego even if he never fully understood the pain I went through. I admired him for how passionate he was about his communist beliefs and joined him in rallies. After the crash my health was never the same, it caused me pain. I wanted children but the effect of the crash caused me to have miscarriages. I felt the only way to express how I felt was to paint these events. I spent most of my life at my family home, where I had many pets and cared for my garden. I was happy when I was caring for these.

Lastly is there any advice you would like to give the students of Leeds College of art?Just to learn the value of using art to express yourself and your feelings. I know it helped me to overcome a huge amount in doing so. Always make your work for yourself, because if you don’t like it, how can you expect anyone else to?

Frida Kahlo: known for her inspiring self-portraits, her story is one of life, loss, love and joy. She claims to be born in 1910 at the start of the Mexican revolution: “I came into the world when the new Mexico was born.” NEST is delighted to be joined with the artist today to talk about her vibrant life and how this influenced many of her paintings.

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An Interview With Frida Kahlo

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Next Issue:

Competit ion:

Credits:

In the next issue we’ll be launching our rockets into outer space for a sci-fi themed edition. If you’re interested in getting your work into NEST IV, or you’re interested in getting involved in any other way, send your images or ideas to:

editorial@students.leeds-art.ac.uk

The magazine will be ready for take-off at the start of next term, but don’t let this put you off if you’re leaving us this year. We’re always looking for Graduates to return to be featured in the publication.

We’re holding a competition to find the cover artist for Nest Issue IV, which is due out in September. The brief is simple: design a cover in response to the words ‘Sci-Fi’ and ‘nest’. This can be as vague or direct as you want. The cover must also contain the title NEST IV. The back cover is also included in the design. Format is A5 portrait, or with the back cover included, A4 landscape. Deadline is Monday 1st July. Send your images to:

editorial@students.leeds-art.ac.uk

Andrew Foster - Dancing MexicanBeata Szwagierczak - Llama/SuperLlamaDavid Gaskell - CoverFrances Claire-Bailey - ContentsHannah Morris & Tom Hoare - Cocktail recipesJames David Murphy - Traigan La VidaJonathan Videgrain - BalloonsLydia Fothergill - Cathy DeMonchaux interviewPaisley Boyd - Frida Kahlo interview

Rosie Gray - Inside CoverSally Lambert - Cocktails illustratorSammy Taylor - Contributors Page, Mystic MiguelSophie Mason - Frida Kahlo IllustratorVickie Bennett - Cocktail Layout, Creative Consultant

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