Vivartis 2011 continues to be one of the most vibrant and exciting art exhibitions in Surrey, and one I never miss. Showcasing the work of more than 400 individuals, it includes work by professional and amateur artists and sculptors.

I particularly loved seeing the work of Nic Fiddian Green 'in the flesh' as it were. Nic is famous for his massive horse head sculptures - his 'Horse at Water' at Marble Arch has met with great critical acclaim and another of his great equine scultures towers over Goodwood racecourse. There is something very special about re-creating the horse - I was transfixed by the magnificent 'puppets' in Warhorse and Nic's work moves me in much the same way.
Other local artists with incredible skill and perception are also evident at the exhibition - Glenys Ambrus is a brilliant artist - I have been taught by her in the past and her pastel drawings are wonderful. Another talented local tutor, Juleit Renny, has some of her lovely landscapes and paintings on display as does everyone's local favourite, David Shepperd.
Amongst the more unusual peices of work are those by Philip Jackson and Ken Paine. Jackson's work has been described as 'hauntingly elegant' and Paine's portraits are intriguing, even a little dark and disturbing at times. In contrast, Jon Wright's painting are full of colour and flamboyant humour.

There's always a great mix of styles, and indeed prices, at Vivartis. Catch it while you can.

Vivartis runs until October 16th at Kind Edward's School, Witley. Tel: 01428 686727 website: www.kesw.org

It was a treat to go to the press day at Hampton Court Flower Show. Garden designers and stall holders were putting the finishing touches to their exhibits and there was an air of excitement about the place. Having written the feature 'Behind the scenes at hampton Court' for the July issue of Surrey Life, I had added interest and felt almost one of the 'inner circle'.

I bumped into my lovely interviewee, RHS judge Andrew Wilson, but he wasn't giving away any hints as to who had won prizes. "you'll have to wait and see" he said, with a twinkle in his eye.

I went straight to the amazing RHS Edible Garden, conceived and created by Jon Weatley and Anita Foy. Anita and I were kindred spirits on a Diploma in Garden Design course at Merrist Wood a couple of years ago. My word, how far she's come since those classroom days! Her Hampton Court garden, at over an acre, was an amazing feat. It showcased the best of Grow your Own - everything in the acre was edible, or could be used in an edible way ie: in an oil. There were hops & barley, fruit & nuts, herbs, edible flowers and masses of lavender - all providing a wonderful display of colour. After witnessing a group of schoolboys pinching the wild strawberries and throwing them a cool glare, I trotted off to the conceptual gardens.

Conceptual Gardens - you either love them or hate them but they always provide great conversation. I found them particularly lively and interesting this year, particularly Tom Harfleet's design based on human thought process and Anousha Feiler's 'Excuse me while I kiss the Sky' which was a wonderful and simple blend of mirrors and beautiful purple agapanthus.

On a more traditional note, the English Poet's gardens ere easy on the eye and the Small gardens category provided great ideas for tiny town gardens. This was my first visit to Hampton Court FS, and I enjoyed it so much I went back on the Friday when it was buzzing with visitors and the gardens were at their best. Definitely worth a visit - smaller, more relaxed, perhaps not quite as finely tuned as Chelsea Flower Show - but definitely a show with its own identity and a following of its own.

To add joy to the day, my friend and I hopped in a boat and went up stream to have supper at a pub on the river. Even the appalling service and a visible squabble between 2 waitresses couldn't dampen our spirits. Hats off to Hampton Court.

Watts Gallery re-opens after £11 million re-furb

At long last the Watts Gallery in Compton has re-opened after a 2 year, £11 million restoration, and I couldn’t wait to see it. A networking event last week presented the perfect opportunity for me to see how the home and workplace of eminent C19th painter, George Watts, has been re-furbished.

The Watts Gallery is the only purpose-built gallery in the UK dedicated to a single professional artist, and the new look is fresh, spacious and very informative. Today the gallery houses over 6000 diverse objects including over 250 oil paintings, 800 drawings and watercolours, some 130 prints, 200 sculptures, and 240 pieces of pottery as well as unique ephemera and memorabilia related to G. F. Watts, Mary Seton Watts and the history of Watts Gallery.

As always, my eyes were drawn to the cabinets where sketchbooks, letters and personal items conjure up a picture of the artist’s life. Letters to his 2nd wife, Mary, in his artistic scrawly writing, transported me into his thoughts and emotions, then observed in some of his work.

I was intrigued to learn that George Watts had a fascination for the female neck, and this was apparent in many of his paintings. This personal, sideways pose was a controversial move for a Victorian artist - portraits at that time were generally more formal, facing front. Much of Watt’s work is sensuous, showing the influence of Rossetti, and a use of rich, full colour to great effect.

Watts married twice - firstly, in 1864, to Ellen Terry who was 30 years his junior. When she eloped with another man after less than a year, Watts was obliged to divorce her. In 1886, at the age of 69, he re-married to Mary Fraser-Tytler, a Scottish designer and potter, aged 36. Their love of the creative world brought them purpose and great joy and in 1891, they bought land near Compton and continued their work, involving local people and inspiring others. The Watts Gallery, a museum dedicated to his work, opened in 1904, shortly before his death.

When I left the gallery, it was still sunny so I stopped half a mile up the road at the Watts Mortuary Chapel, designed by Mary Watts. This delightful little chapel is an intriguing fusion of art nouveau, Celtic, Romanesque and Egyptian, all influenced by Mary's own original style. The Chapel was apparently the Watts's contribution to the Victorian preoccupation with social improvement through creative enlightenment. Mary passionately believed that anyone with a real interest and enthusiasm could be taught how to produce beautiful decoration,

I wandered around the small graveyard which was intensely peaceful - just the occasional song of a blackbird enjoying the last rays of sunshine. Places such as this little chapel and the Watts Gallery are such special places to cherish in today’s frantic race to prosper and achieve. If you can, make a date in your diary to visit there this summer.

Take a look at the Watt’s Gallery’s informative website: http://www.wattsgallery.org.uk

Are conceptual gardens just mumbo jumbo?

I recently enjoyed a couple of hours chatting to eminent garden designer Andrew Wilson for a forthcoming Surrey Life feature. Andrew was my tutor when i studied Garden Design at Merrist Wood College. Since those inspiring (and often very amusing) days in the classroom, when he drummed into us so many useful landscaping principles, he has launched his own Garden Design school in London. He is also an RHS judge, covering Chelsea and Hampton Court flower shows, and I was keen to get a little 'insider info' from him.

I won't reveal our whole conversation - that's in Surrey Life's July issue, but a few things stuck firmly in my mind. Firstly I was amazed to learn that only 30 to 40 garden designers submit entries to Hampton Court Flower Show each year - I'd always thought they'd be inundated, and hence I never considered having a go myself. Now I feel inspired to get designing - particularly as the conceptual gardens category has become so popular in recent years. Surely an interest and background in art will aid my attempt? Described as a 'fusion and art and horticulture' this category ticks 2 of my favourite boxes.

Andrew is a big fan of the conceptual gardens. 'Conceptual Gardens can breathe new life into a show' he says. 'They are sometimes harder to judge because you really have to study the idea behind the garden, not just the final execution. It is a pure aspect of design, and not a load of mumbo-jumbo, as some people may believe'.

Andrew was part of the RHS forum that decided to introduce the category; he recalls how one of the first conceptual gardens got an award, even though half the plants had died. The idea was brilliant, but the Italian designer had unfortunately had many of his intended plants impounded at the docks at Dover, hence his finished garden was diminished in some areas. However, his design and original intent were clearly impressive.

So there we are - it's not all about having green fingers and knowing your berberis darwinii from your Phyllostachys glauca. An open mind, the ability to translate thought into design and and a commitment to your original idea are also very useful.

Hampton Court Flower show is from July 5 - 10.

Ambitious production cracked by the Guildbury's

Burnt by the Sun, The Electric Theatre.

Guildbury’s

A striking poster designed by Phill Griffiths, and an equally impressive programme, was a clear indication that the standard of the Guildbury’s latest production was going to be good.

Burnt by the Sun was first performed at the National in 2007. Peter Flannery's adaptation of the Oscar-winning 1994 movie attracted rave reviews for its narrative and its tense story line gave the Guildburys the opportunity to pull out all the stops. is

The play is centered around the household of General Kotov, decorated hero of the Russian Revolution, who is spending an idyllic summer in the country with his beloved young wife and family. But the arrival of his wife’s former lover after a long and unexplained absence creates tension and, amidst a tangle of sexual jealousy and political backstabbing, Kotov feels the horrifying reach of Stalin’s rule.

Guildburys’ director Ian Nichols cast suitable actors for a diverse cast with ages ranging from 10 to 70, no mean feat for any am dram group. Catherine Ashdown, as Kotov’s 10 year old daughter, was totally convincing in her role, always enchanting and staying in her part even when the action was elsewhere.

As her parents, General Kotov (Mark Ashdown) and Marrousia (Claire Racklyeft) portrayed genuine love although their relationship is shattered by the intrusive presence of former lover Mitia, played to great effect by Andrew Donovan. Throwing himself into his role, Donovan conveys affability in the first act playing Puccini with grace and charming the young and old alike. However, in Act 11, he reveals a darker, intimidating side to his character and his final scene is frighteningly effective and incredibly tense.

Indeed the whole cast in this production were word-perfect and comfortable in their roles. Phill Griffith as Kirik injected great humour, jumping on and off his bike and swigging vodka when the tensions began to rise. The elderly ladies were endearing - bumbling and busy without ever being irritating.

Nicolls not only chose an excellent cast, but he also ensured that sound, lighting and set design were of the highest quality. The sound throughout was carefully crafted, never obtrusive but subtly conveying different moods and scenes.

This is a play that requires attention to detail, clever timing and superb acting to prevent it from slipping into domestic drama. If passion drives the pace, then this was achieved by the Guildbury’s who did a demanding script great justice.

Tinx Newton

Guildford Youth Theatre present polished performance

Romeo & Juliet
by The Yvonne Arnaud Youth Theatre at the Mill Studio

Embarking on a full length Shakespearean play can be daunting for any theatre group, so it was a particularly brave choice for the Yvonne Arnaud Youth Theatre, most of whom may have read Shakespeare at school but few had ever performed it.
Directors Adam Forde and Lucy Betts were confident that the group could do justice to Romeo and Juliet and, after months of dedicated rehearsing, they presented six highly polished performances at the Mill Studio, Guildford.
Setting the play in the 1920s felt appropriate as a time of revolution yet afforded touches of fun. Costumes were simplified and moments of 20s music created atmosphere. When the whole troupe broke into a well choreographed dance routine at Lord Montague’s masked party, I wanted to stand up and cheer. It is a clever scene; Romeo and his friends, having gate-crashed the party, move gaily through the crowd creating little scenarios which are delightful to observe.
The first half was tremendous with good pace and moments of gaiety that tumbled into darkness as the houses of Montague and Capulet fell foul of each other. Fight scenes directed by Daniel Hill were incredibly realistic, and the whole cast worked well together, whether dancing, fighting or falling in love. The second act revealed some moving scenes from the young lovers and tangible feelings of despair from those close to them.
It is no mean feat learning Shakespeare’s lines but this young cast were almost word perfect, and any small stumbles were covered with skill and confidence. Theo Toksvig-Stewart was impressive as Romeo, delivering his lines clearly and displaying immense energy and passion. His love for Juliet, played with delightful charm by Jo Parker, was sensitively portrayed.
Cameron Manson played a convincing Mercutio, unnervingly provocative throughout the first act, yet vulnerable and tragic in his final scene.
There were so many notable performances, indeed too many to name individually. All the cast were major players in this production - they worked well together, smoothly moving from one scene to the next, concentrating on each others lines, displaying credible expressions of hate, love and despair.
In her director’s notes, Lucy Betts says, “The group has embraced the project with relish. Every member has been faced with new challenges and the cast has risen to the demands of the text with great passion.”
I think it showed. This was a remarkable production - in fact I enjoyed it so much, I bought a ticket for the following night.

Tinx Newton

Wanted: Big & Danish on Bargain Hunt

In the interest of supporting all forms of arts and media I took part in BBC's Bargain Hunt last week. (does that count as research?)
On a very cold and damp Tuesday morning my team mate Penny & I turned up at Ardingly Show ground in Sussex, prepared for some kind of participation, but not entirely sure what to expect!
If you haven't seen Bargain Hunt, let me explain - it involves 2 teams each being given £300 and an hour to spend it on 3 potentially good money-making bargains at a given antiques fair. Both teams set off at the same time with their own dedicated film crew and the aim is a) to make the most money and b) provide entertainment!
"Just keep talking" the director told us - Penny & I had no problem with that, and neither did the antiques 'expert' who went with us. The hugely entertaining Mark Stacey kept us (the red team) entertained and under control for well over an hour. And he seemed to know his stuff - the proof will be at the auction day in March when our chosen goods will compete against the blue team's items.
What did we buy in the end? A small 'bureau' with a crack in the top, a huge but lovely Games table and er - a ship. yes a ship! - that's when you see us starting to have a tiff on camera! It may have only been 40 quid but it was 5 feet long and the mast, sails and half the hull were missing.
Later ( it's kind of filmed the wrong way round) we were interviewed on camera by the charismatic Tim Wonnacott who asked us lots of jolly questions about our lives and we tried hard not to sound crass or twee and to be super-bright, arty and informed!
As always I take my hat off to the film crew - friendly, funny, and full of energy even when the wind howled around us and some of stall-holders hurled abuse. Only once did they tell us off, gently reminding us that we were filming for day time TV. Penny did mention a few times that she was after something Big and Danish (and I was after small and British) - now what's wrong with that?!