Isle Of Dogs Archives - Page 6 of 7

September 4, 2022September 4, 2022

Isle Of Dogs: Why Craft Central’s director is reaching out to the local community

Jo McLean says she’s excited to play her part in building the makers charity back up after Covid

Jo McLean has taken over as director of Craft Central

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BY LAURA ENFIELD

For the last two years it has been heads down at Craft Central to keep things ticking over.

The creative charity on the Isle of Dogs had to bring in outside funding for the first time as the effects of the pandemic took hold.

But there is a new director at the helm – Jo McLean – who is ready to build the organisation back up and is looking around her to find its future direction.

“I took the job because I was really excited by the idea of a creative hub,” said the former professional musician, who knits and silversmiths in her spare time.

“I’m very much driven by community engagement. I think artists should sit at the heart of communities and be a really great resource for them. I see the potential for that to happen at Craft Central.”

A classically trained French Horn player, Jo spent 12 years touring internationally before packing away her instrument and starting a career in arts organisations.

“My first proper job was at Cove Park, an artist residency centre in Scotland,” said the 52-year-old.

“I was in charge of a capital project bringing in more accommodation and supporting the visual arts and crafts residences. That was when I first got interested in design and craft.”

A graduate of the Royal Northern College Of Music in Manchester, Jo lived in Scotland for 25 years working for organisations such as Uz Arts and The Touring Network and overseeing the creation of her own home, which gave her a new appreciation of architecture and buildings.

“I’ve always been really interested in good design and craft,” she said.

“So that’s kind of where my path into this area has come from.

Craft Central is based at The Forge on Westferry Road

“I’ve led organisations across all genres of arts, from performance through to visual arts, theatre, literature and lots of consultancy work as well around organisational development, which is, I suppose, where my real interest lies.

“This job brings together my two passions, which is great.

“It’s been a turbulent few years and the charity wanted somebody who was going to come and build up the organisation again and I have the skills to do that.”

It was love as well as work that brought Jo to the capital as she met her husband, a Londoner, and they tied the knot a few years ago.

“We had a long-distance relationship for quite a long time and decided we needed to come together,” said Jo, who recently dusted off her French horn to play on a new album by The Bluebells’ of Young At Heart fame.

She first moved to London just before the pandemic to work for Clod Ensemble, based on Greenwich Peninsula, but returned to Scotland after a year. When she saw the role at Craft Central she knew it was her chance to move down here for good.

“I was ready for a challenge, said Jo, who now lives in north London. “I’ve done organisation internally in CEO type roles but this role was very much building based, which I’d never done.

“The pandemic has left its financial mark on the organisation.

“It’s always been self-sustaining, but the next couple of years are slightly trickier in terms of how we make the business model work as well as it used to.

“All the parts are there, it just sort of needed an architect to put them all together and help everybody to make it work, which is what hopefully I’ll do.”

She had never set foot in the area before, but had heard of Craft Central from friends who have studios there.

Formed in 1970, the arts organisation spent 40 years in Clerkenwell, but in 2017 moved to The Forge on the Isle Of Dogs – one of the last buildings from the golden age of shipbuilding in the area.

Located on Westferry Road, it was built in 1860 for CJ Mare And Company and constructed the keel for battleship HMS Northumberland.

It fell into decline in the 1900s, but was restored and transformed into studios and workspaces used by Craft Central, by the construction of a virtually freestanding two-storey birch plywood structure within the existing Flemish bond brick walls.

“I was blown away – it’s a stunning, incredible building,” said Jo, who is currently hunting for a facilities manager to help take care of the site.

“What I really liked about it is there’s a connection to the west coast of Scotland, which has a really rich shipbuilding heritage and I’ve been told that a lot of Scottish people moved to the Isle Of Dogs for the shipbuilding industry down there.

“So being in that sort of very heavy industrial building feels quite comforting to me.”

The Forge's studios are home to more than 70 makers — The Forge’s studios are home to more than 70 makers

With around 77 makers based there, the studios are almost full, but Jo is concerned about the effect the cost of living crisis will have this autumn.

“Artists are going to be really hard pushed to afford the luxury of having a studio,” she said.

“I am anticipating people will have some very difficult decisions to make and I’m thinking about how we can make sure that we have a full space and keep the business model working.

“Our rent review will be due next year and I’m sure the utilities will go up. We are going to have to face some harsh realities about increases to our costs.

“I’m going to do my very best to make sure we don’t pass those on to our studio holders, but it will largely depend on whether we can find some support to help us.”

The pandemic already saw bosses seek outside funding for the first time, from the Foyle Foundation and Garfield Western Foundation. Jo said more would be needed this year to make the figures work.

“My ambition is that in two years we won’t be relying on any sort of trust, foundation or public funding in order to operate as a centre for craft, but we would be looking for funding to run programmes with the community,” she said.

Jo is hoping to forge relationships with companies in Canary Wharf and beyond to help spread its work further into the Island.

“Craft Central isn’t just about the building – it’s going to be really important to take the brand beyond that,” she said.

“I’m trying to find as many places to connect to as I can, locally and more widely. I’ve inherited a really fantastic team and we’re looking forward to the future.

“For a while its been head-down, let’s hold this together and the team did a fantastic job of that. Going forward, it’s our ambition to be much more embedded in the community.

“Ways we can work with residents and local groups is going to be a definite focus.”

Jo already plans to register Craft Central as an Arts Awards venue to help broaden its work with young people.

“I think it’s really important that we engage with children,” she said.

“Craft isn’t taught so much in schools any more and I think a part of what we can offer is a window into another world for young people.

“We want to work more with older people, because the motor skills associated with craft are a recognized benefit in ageing as well.

“There are so many benefits associated with art of any type, but particularly in craft. It connects you to yourself.”

Craft Central's makers work in a range of different areas — Craft Central’s makers work in a wide range of different areas

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London

July 8, 2022July 8, 2022

Isle Of Dogs: How David Grindley is set to star in his own play at The Space

The Island resident and original SpaceWorks member will stage a show from July 26-31, 2022

David Grindley is set to star in David's Play at The Space — David Grindley is set to star in David’s Play at The Space – image James Perrin

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Adam Hemming joined The Space in 2004, subsequently stepping up to the role of artistic director a couple of years later.

Not that it’s a competition, but David Grindley has been involved with the Westferry Road venue for longer than that – about 19 years, in fact.

“I get a lot out of it,” said David, whose speech and movement is affected by cerebral palsy.

“It saved my life. When I was in a home, I was shut away a lot, but when I came here, I could do drama.”

Now the Isle Of Dogs resident has decided, as an original member of in-house company SpaceWorks, that he’s going to star in a production and that there’s really nothing Adam or anyone else can do about it – even if they wanted to. Actually, they’re complicit.

“This is the second play that we’ve done with David,” said Adam.

“The first was 2015’s The Man Who Found His Freedom, which was about a period in his life when he was in a care home and how he escaped to live a more independent life in east London. It was quite a hard-hitting drama.”

Whatever David’s Play turns out to be after the machinations of writing, rehearsal and devising, it won’t be that. Audiences are in for laughs.

“With this show we wanted to have a bit more fun,” said Adam.

“It’s a backstage comedy based on the last 10 years of David’s life – his time at The Space and the adventures he’s got up to since he’s been here.”

Adam and David discuss the production – image James Perrin

David’s disability hasn’t deterred him from consistently pursuing starring roles, something that’s key to the forthcoming show.

“The main thread of the story is that David is a part of our company SpaceWorks, where local people take part in creating theatre,” said Adam.

“At the end of each production we would talk about what we were going to do next, and David’s suggestion was always My Left Foot – I’d always shut him up.

“There are complications around staging My Left Foot, which was a book originally, then a film with Daniel Day-Lewis, but David was always suggesting it so that he could be the star of the show.

“In the end we decided that, rather than doing that production, we should create a play for David, which he could then star in, so that’s how it all began.”

David’s Play will be directed by Adam, David and deputy artistic director at The Space, Matthew Jameson, who all appear on stage as versions of themselves.

“Nothing can go wrong,” said David. “I think we’ll feel better with the first night done, but I’m sure it will be alright – I hope people like it.”

Adam added: “It’s quite a rare thing to see someone like David on stage, but we’ve laughed a lot in creating the show and doing the read-through, so we’re hopeful people will find it funny.

“David keeps telling me off because I keep trying to do serious acting.”

The Space has raised cash to help put the show on – partly through a crowdfunding campaign – with David suggesting on the accompanying video that, should sufficient money become available, it would allow him to hire a better director than Adam.

The Space is still accepting donations for the show, although it’s unclear if this could affect Adam’s position.

In some ways, the fundraising efforts feel apt, given David’s own commitment to generating money for the charity that runs the theatre.

“I’ve worked on the box office, been on various committees and done a lot of fundraising,” he said.

“I recently did my annual sponsored walk across the Isle Of Dogs, which I’ve been doing for 10 years.”

David's Play is set to play at The Space from July 26-31 — David’s Play is set to play at The Space from July 26-31 – image James Perrin

“David takes his fundraising very seriously and he’s very good at it,” said Adam.

“David has 24-hour care and this is one place where he can come without his carer and get involved in what’s going on.

“He’s seen more shows here than I have, but he’s also organised lunchtime music recitals as well as creating work like this – it’s a mutually beneficial relationship.

“David’s participation with SpaceWorks has helped to raise understanding about what someone with cerebral palsy is capable of.

“As a condition, it’s not that well-known, but he’s built up quite a good network of friends.

“He had a group of people go with him on his sponsored walk and then we had a barbecue fundraiser here before some other friends took him on to a pub quiz at The Ship – it was a pretty full-on day.

“The number of people supporting him during the day is a pretty good indication of how well-liked he is.

“One of the stories that we’ve used in David’s Play is about the year we decided to do a sponsored walk in Greenwich.

“I wasn’t with him that year and it turns out there are strict rules there about what you’re allowed to shake a bucket for.

“You have to have advance permission – it’s a bit different to the Isle Of Dogs.

“Anyway, some people asked David to stop and he didn’t take too kindly to that and in the end some mounted police became involved.

“Another story that’s featured is that there was an unfortunate incident where David fell down some stairs coming out of a pub so an ambulance had to be called and, on the way home, he asked the ambulance to stop outside The Space so he could get a drink before last orders.

“About 10 years ago David decided to stop drinking and hasn’t had a drop of wine since.”

David said: “My life has improved a lot since then. I don’t think I’d be here now if I’d carried on drinking.”

Created by David, The Space’s literary manager Mike Carter and the company, David’s Play is set to be performed at The Space from July 26-31, 2022, with shows at 7.30pm Tuesday to Saturday and 2.30pm on Sunday.

Tickets for the shows cost £15 with 20% off for bookings made by July 12 (so get in quick).

Anyone who would like to donate to support the production or The Space can find more information here.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

April 27, 2022April 27, 2022

Isle Of Dogs: How Freeweaver Saori Studio runs mindful and productive classes

Craft Central-based maker will also be participating in workshops for London Craft Week in May

Erna Janine of Freeweaver Saori Studio – image James Perrin

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BY LAURA ENFIELD

Decompressing after a hard day at work used to be about sweating at the gym or partying in bars.

But, post-pandemic, people have been seeking out gentler ways of relaxing – sitting at a loom, for example.

Freeweaver Saori Studio at Craft Central is fast becoming a haven for those who want to embrace a slower pace of life, even if only for a few hours.

“Half my students are fashion students and the other half come for the mindful aspect of it,” said Erna Janine, owner of the Isle Of Dogs-based business.

“Stressed out businessmen from Canary Wharf want to do something relaxing that’s totally off the grid with no screens.

“It’s rhythmical and a mindful way of gathering your thoughts while doing something with your hands to create a simple piece of cloth.”

Erna will be hosting two workshops during London Craft Week (May 9-15) – one to introduce the technique of Saori weaving and the other showing how to integrate the cloth it produces into existing items of clothing.

Erna at her loom in Craft Central – image James Perrin

She is also reinventing the pinstripe for the event and the finished result will be on display at Craft Central in Westferry Road.

The 45-year-old, who grew up in Holland, discovered the Japanese technique of Saori seven years ago.

Instead of following a rigid repeating pattern like traditional weaving, the freestyle method encourages weavers to use their creativity to create totally unique pieces of cloth every time they weave. For Erna, it was a revelation.

“Weaving is in my family, “ she said. “I always felt an affinity with it through my maternal grandmother, who made all her own clothes and wore traditional costume. Weaving was also part of the curriculum at my schools.

“When I was 18 I got an apprenticeship in Iceland to be part of a weaving workshop in the remote highlands for a few years, then I did a textile degree in Iceland.

“It has just always been part of my life. But that was very formal with mega big looms that took days to even set up.

“When I found this Japanese way of weaving, I found myself as a contemporary weaver.”

Woven cloth can be used to men clothes – image James Perrin

Erna travelled to Japan to study Saori – invented by Misao Jo 50 years ago as a reaction to the country’s technological boom.

“There was this throwback where people started questioning their relationship with technology,” said Erna.

“She was one of the people who made a stance against it by weaving her own clothes in a way that you could see they were handmade.

“She was 99 when I met her and died aged 104, as something of a cult figure in Japan.

“She said the human being was full of creativity and playfulness and that should be visible in the things we surround ourselves with. They should be based on the innovation around us, but also the joy of making things.

“I thought she captured that so well in the design of her equipment, which allows everyone to express themselves uniquely.

“With a traditional weave, you follow instructions, but this is the opposite. It’s about fun, making something new and trying things out. It is a vehicle for creativity.

“I immediately loved it and found it very liberating because I had spent so many hours at school weaving samples and, if a small mistake showed, the cloth would be cut off and thrown away.”

Erna said Saori was much more welcoming for beginners and she knew straight away she wanted to teach it.

“I could be a regular weaver in London and make scarves, but you can only make so many,” she said. “It’s so much more interesting to teach people how to make these simple things themselves.”

In 2017, Erna landed at Craft Central, a charity set up 50 years ago to support makers, after getting permission to teach Saori in London.

“I liked the area and its proximity to Canary Wharf and Greenwich and the maritime history,” she said. “It’s enveloped in the history of this area and it’s nice to be by the river.

“Every time I’m a bit tired I can walk there and have a stretch – there’s so much space and it has so many textures – I always come back inspired.”

Saori is about free expression – image James Perrin

She has about 40 regular students who she has taught to weave who now visit the studio for sessions on a loom.

“They come in by the hour – a bit like a gym – and make what they want to make,” said Erna.

“They just want some time with other people doing something creative in a beautiful setting.

“It’s not too heavy on the technical and is really more about enjoying the colours and textures and just coming to terms with these simple techniques that surround us from birth.

“Everything we wear is textiles and most of it is woven, so it’s a good way to connect with our distant ancestors as well, who had to create them by hand.”

Classes are held most weekdays and one weekend a month. She also organises the biannual Japanese Textile And Craft Festival with other makers and the Festival Of Natural Fibres (May 28-29) in conjunction with the Gandhi Foundation. This year, silk spinners will be over from India to talk about their techniques.

“People are looking at objects and the things around them in a different way,” said Erna. “We see it with food – people being more picky – and I think fashion will be the next thing where people start to choose with more care.

“People should see fast fashion as pollution. I have travelled to India extensively as I work with organic cotton farms and silk spinners.

“It’s horrible to see the river bright pink because it’s in this season. I don’t think severe change is necessary, though – just slow progress because people need employment.”

Erna does her bit by avoiding acrylic yarns and using recycled materials saved from landfill.

She splits her time between Deptford and Stroud, where she has a home studio in an old textile mill.

She also weaves outside and forages in the forest.

“I created my first clothing collection there in lockdown,” she said.

“People often ask if I go home and weave after teaching a whole day. I answer: ‘Yes of course, it’s so relaxing’.”

Craft Central has a number of workshops taking place for London Craft Week 2022

LONDON CRAFT WEEK WORKSHOPS AT CRAFT CENTRAL IN 2022

May 10 – Rework Your Garment Using Creative Sewing And Saori Weaving

May 11 – Saori Weaving With Natural Fibres + Bengala Dye

May 11 – Sewing A Japanese Komebukuro Rice Bag

May 13 – Ikebana Japanese Flower Arrangement

May 14 – Make Your Own Botanical Illustration Inspired 3D Paper Rose

May 14 – Paint Your Own Ceramic

May 14 – Pyrography Fire Drawing Workshop

May 14 – Makers Market 10.30am-5.30pm. A wide range of items will be on sale at Craft Central including interior products, jewellery, prints, textiles, fashion, ceramics, and woodwork

May 15 – Jesmonite Casting

Find our more about these workshops here

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April 16, 2022April 22, 2022

Isle Of Dogs: How Velocity’s revolutionary toilet is set to save huge amounts of water

Inventor Garry Moore is set to run trials of his domestic loo at at Alpha Grove Community Centre

Garry Moore has created a domestic version of his air flush toilet

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BY LAURA ENFIELD

He might look like a sombre-suited Clark Kent but Garry Moore is actually a superhero.

He has invented a way of saving something vital to life on this planet. Water.

His superloo uses the power of air to blow away waste – saving countless litres of our most precious resource.

And he has chosen Alpha Grove Community Centre on the Isle Of Dogs as one of the first venues in the world to trial the toilets, produced by his company Velocity.

“There is amazing pressure on water sustainability in the UK,” said Garry. “People think it rains a lot here but it’s not enough to be self-sufficient.

“We need to make sure we are not wasting what is a precious resource. It’s clean drinking water and we flush it down the toilet and turn it into raw sewage. That’s a luxury that can’t continue.”

His toilets are the first domestic designs in the world to use a pressurised air flush. They use 1.4 litres of water to clean the bowl, rather than the nine litres used on average by a traditional toilet, a reduction of 85%.

Garry said it meant his design was eco-friendly and also more pocket friendly, paying for themselves in four years through a 25% average saving on water bills.

He said the superloo also required no behavioural change from users and would help achieve water neutrality when developments were built – meaning the impact on water availability would be the same or less than previously.

“I’m a very practical person and have an inquisitive mind,” said Garry. “I’m always questioning how things are built and why they are built that way.

“So many things we interact with every day have been invented by someone and I like to consider whether they could be designed better.”

The married father-of-two has self-funded and developed the toilet from his home workshop in Westcliff-on-Sea and at the Innovation Centre at the University Of Essex in Colchester, with a team of six experts.

“They include a ceramic sanitaryware specialist, a mechanical engineer and a microbiologist.

An artist’s impression of Velocity’s toilet

Garry and his team are now getting ready to bring the innovation to market within the next year. He said the Isle of Dogs was the perfect place to test the invention.

The area holds great meaning for the 57-year-old. His parents were born and raised in Canning Town, surviving the Blitz and working in the docks before moving to Ilford to raise their family.

It was at the University Of East London campus in Docklands where Garry developed his first air flush toilet with Propelair during the 1990s and 2000s.

It was aimed at commercial use and went on to be installed in the Barclays and Citi buildings in Canary Wharf as well as at branches of McDonald’s and Moto service stations.

He parted ways with the company on bad terms in 2018 and thought his dream of revolutionising the toilet industry was over.

But inspiration hit once again during lockdown.

“I realised working from home was here to stay and, with COP26, people were not saving water using those flushes at the office,” said Garry.

“So I formed a home working group with my original design team and set about designing Velocity for domestic use.”

The original 20-year patents that his Propelair design was based on had expired, so Garry was free to have another shot at his superloo.

“It wasn’t my choice to leave Propelair,” he said. “I spent 16 years building the company up, 10 years unpaid and to just have to walk away was really difficult.

“I had secured £1million to develop a domestic version, but it just hadn’t happened.

“Then, during lockdown I just realised we had to do it – society needed it, because 75% of the market is domestic.

“So it has been absolutely fantastic working again on a new project with the team.”

His new toilet is more compact, quieter and has a motion sensor, offering hands-free opening and flushing.

But the main star is the in-built air system, which has shades of Back To The Future inventor Doc Brown.

“I had some big lightbulb moments – the main one being something we call the flush capacitor,” said Garry.

“It came to me while lying in a hammock drinking a beer in the summer of 2020.

“With a conventional toilet, you have a water cistern and, when you flush, water flows from it into the pan and carries the waste out into the sewer. It requires a lot of water.

“With Velocity, the lid seals onto the pan and when you flush a small amount of water comes in to clean the pan and then air is sent directly in and cannot escape, so it pushes the waste into the drain.

“With this system, you are not actually relying on water to move the waste, it is only for cleaning.”

Garry will trial the toilet at Alpha Grove Community Centre on the Isle Of Dogs

Southwest Water is testing the design from a regulatory standpoint, while the project at Alpha Grove will check how effective Garry’s design is in a real-life situation.

The toilets are due to be installed at the community centre as part of its redevelopment, which is being overseen by Dennis Sharp Architects.

Garry’s team is currently capturing six months of data from the site to map out its current water and energy consumption so the company can demonstrate what the savings are with Velocity.

Garry said installation of 12 toilets was expected to take place in early summer.

“We’re really excited about the first trial at Alpha Grove because it is a residential area,” said Garry.

“They’re trying to be an exemplar of low water use. It’s going to be a great place for us to do some demonstrations and save them water and carbon.

“We’re also looking at developing additional hygiene benefits, including chemical-free disinfectants.

“We want to eliminate the use of bleach and develop technology that kills Covid and other viruses.”

The trained engineer said people often laughed when they first heard about his job, but quickly realised the gravity of what he is doing.

“The modern toilet was crucial in preventing cholera,” said Garry.

“I’m pleased to be following in the footsteps of Doctor John Snow, who influenced big changes in public health and the construction of improved sanitation facilities.

“The first flushing toilet was invented hundreds of years ago for Queen Elizabeth I and, since then, the industry hasn’t radically innovated at all.

“As we move into the 21st century, we need to look at a different way of doing it. A royal appointment would be fantastic – you have got to dream big.

“I know the world needs to save water and we are developing a product that’s going to enable it to do that.

“I would love to see our toilets go into every home in the UK and to know we are really doing some good for the environment.”

DOCKLANDS LEGACY – THE MAN BEHIND THE MAN

When Garry’s father, Stan Moore, lived in Docklands, everything was different.

The 95-year-old grew up in Canning Town during the Second World War, when the Alpha Grove was a Methodist Church and the family’s toilet was an outhouse.

“It was my job to tear up the News Of The World, to use in it,” he said.

Aged 14 he started working for the civil defence association, delivering messages and putting out fires around the Docks.

“It was terrible – the Blitz,” he said. “One day you would walk down a road in Canning Town and the next it was all gone.

“As a young kid I took it all in my stride. My poor mum was a widow and had to bring up five kids with no pension.

“We lost our house and got evacuated. Our family was really lucky to come out of it in one piece.”

In the 1960s his father-in-law helped get him work at Millwall and Royal Docks, but Stan said he was “very suspicious” about risking his house by giving up his £17-a-week job at William Warne rubber factory in Barking.

“There were thousands of dockers waiting to pick up work,” he said of his first day. “I was told by an elderly docker ‘no matter what, you don’t go on the ships.”

By hometime he had earned £17 loading flour and said: “I couldn’t get on my motorbike quick enough to tell my missus.”

The places he knew have all been flattened but Stan said he loves having the chance to go back and visit with Garry and to see where his son is working.

“He’s a wonderful bloke,” said Stan, “Good looking and everything he does is good.

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April 1, 2022April 6, 2022

Isle Of Dogs: How The Sushi Co has ambitions to spread throughout the UK

Brand intends to open 13 takeaway restaurants in 2022 serving sushi made to order without the chill

Sushi from The Sushi Co on the Isle Of Dogs – image Matt Grayson

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When branches of The Sushi Co have swept the nation, with outposts in every major city and restaurants every couple of miles in London, remember that it all started on the Isle Of Dogs.

The business opened its first restaurant and takeaway at the eastern tip of Westward Parade opposite Crossharbour DLR in January and already it’s one of three locations in the capital.

Targeting rapid growth, with plans for at least 13 restaurants this year, its owners believe they’ve spotted a gap in the takeaway market and they’re moving fast to claim it as their territory.

“We already had a background in food, running pizza franchises,” said Sam Reddy, who oversees operations on the ground for The Sushi Co.

“We’d seen the trend for sushi and initially we thought we’d become franchisees but we decided to create our own brand instead.

“Doing that gives you a lot more freedom – you are able to determine the quality of everything and you can make decisions much more quickly.

“Personally, two years ago, I’d never even tried sushi so we had to do a lot of research. We ate in so many places, we must have tried every brand in London.”

Peng Zheng and Sam Reddy of The Sushi Co — Peng Zheng, left, and Sam Reddy of The Sushi Co – image Matt Grayson

That included eating at the restaurant of Peng Zheng, whose food impressed so much that The Sushi Co approached him to join the project.

“Peng has designed the whole menu from scratch,” said Sam. “He’s our head chef, so while we’re good at building the sites, finding the best suppliers and investing the money where it needs to be, he can concentrate on creating the right food.

“We told him our idea – to create a UK-wide brand – and he really liked it.”

Part of the reason for that is a shared commitment to the quality of the food. Walk into The Sushi Co’s Isle Of Dogs branch and you’ll see a chiller cabinet with a selection of drinks and a couple of cheery signs explaining that the kitchen hasn’t run out of food, but that all dishes are made to order.

“When we were doing our research, we realised there were lots of brands storing products in the fridge,” said Sam.

“But that’s not sushi. It should never be stored that way and you shouldn’t eat it chilled. It should be eaten warm and freshly made.

“That is what we do. It’s not instant, customers have to wait five or 10 minutes. But because they want to eat good quality sushi, they’re happy to do that.

“Whether a customer has come to the restaurant to collect the food, or it’s being given to a delivery driver, it’s all made and served to order.

“Top sushi restaurants would never put their products in the fridge, so why would we?”

While the first restaurant has some seating for diners to eat in, The Sushi Co has primarily been conceived as a takeaway and is available through Deliveroo, Uber Eats and Just Eat.

Sam said: “Our main target is that customers should receive food from our restaurants in under 25 minutes.

“Our focus now is on scaling up because there’s nobody else in this market in terms of delivering fresh sushi. There are some independent restaurants, but we want to grow quickly.”

The Sushi Co is located on Westward Parade – image Matt Grayson

With an eye on maximising accessibility, Peng and the team have developed a menu rich in sushi and sashimi but that also includes a range of poke bowls, gyoza dumplings and hot meals as an alternative to the core dishes.

“Some people think sushi isn’t for them, but it is for everyone,” said Sam.

“To be honest, I had that feeling two years ago, but not anymore and that’s because I experienced it.

“When people see that it’s raw, some wonder if it’s safe to eat, but our brand follows the highest standards of food hygiene.

“We think we’ve developed a really good product, quite different to pre-prepared boxes you might buy at the supermarket and now we just really want people to try it.

“Once people come to us, they will realise how much better sushi that hasn’t been chilled really is.

“The feedback from customers has been really great – in the end you can’t build a business if the product isn’t right.”

All of the brand’s sushi is made fresh, never chilled – image Matt Grayson

As for the future, The Sushi Co plans to roll out branches across London first, with slightly larger outposts in big cities across the country being an ambition for the future.

Food-wise, having found its feet, there are also plans afoot to collaborate with chefs on signature dishes on a regular basis.

The brand serves an extensive range of sushi including nigiri, uramaki, hosomaki and futo maki as well as selection boxes. Hot dishes include the likes of curries, noodle dishes and soups.

“Personally I really like the prawn katsu, which is fried in breadcrumbs,” said Sam.

“But I also really enjoy the rolls we offer, many of which come with special sauces that we also make in-house.

“I really like to eat sushi, but my wife doesn’t, so having that variety on the menu is very important because it means we offer something for everyone.

“Not every takeaway business does this but we think it’s essential.

“There’s still a lot to learn for us on this brand, of course, but the first two branches have been really, really successful and we’ve just opened the third so we’re very excited about the future.

“I really believe you can’t get the quality of food that we’re serving in any other fast food takeaway.

“Of course you can go to an expensive sushi restaurant, but many of our dishes are only £10-12 and we use top quality ingredients.”

The Sushi Co is trading on the Isle Of Dogs and in Chiswick and Holborn with branches in Woodford and Lewisham set to be open by May 9.

Expect to see quite a few popping up over the coming years.

The restaurant does have space to dine in – image Matt Grayson

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November 17, 2021

Isle Of Dogs: Poplar Harca and FAHHA Landmark Pinnacle homes for less

Housing associations unveil show homes for shared properties in Europe’s tallest residential tower

The show homes have been dressed to show the apartments' potential — The show homes have been dressed to show the apartments’ potential

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The areas surrounding Canary Wharf and the estate itself aren’t exactly short of residential towers, but only one can lay claim to be the tallest in Europe.

Landmark Pinnacle stands at the head of West India South Dock, rising more than 230m into the sky.

While the majority of the properties in the tower are being sold privately, a collection of 70 apartments has been made available on a shared ownership basis.

Housing associations Poplar Harca and Funding Affordable Homes Housing Association (FAHHA) have taken on 35 each, with the former handling sales and marketing duties on behalf of both organisations.

Located in the lower third of the 75-storey building, the properties have been designed to offer views of either the sun rising in the morning in the east or setting in the west.

Poplar Harca head of sales and marketing Helen Mason said: “Working with FAHHA, we have a total of about 40 one and two-bedroom apartments still available at Landmark Pinnacle for shared ownership.

Buyers can generally purchase between 25% and 75% and then pay a reduced rent on the remaining equity.

“The scheme is mainly targeting first-time buyers – single, professional business people or couples in full-time employment with a total household income of less than £90,000.

“You don’t have to be a first-time buyer, but you do have to be free of a mortgage and you can’t be on any other deeds to a property part-owned here or abroad.

“All applicants are subject to a financial assessment to ensure the scheme is affordable and that their savings don’t push them over the threshold of being considered able to buy on the open market.”

Remaining properties at Landmark Pinnacle start at £135,000 for a 25% of a one-bedroom home with a market valuation of £540,000. Two-beds start at £188,750 for the same share.

Poplar Harca senior sales executive Ashton Wylie said: “When you actually look at the monthly outgoings on these properties it’s very reasonable, which people might not assume.

“It’s well worth looking into because it would cost a buyer between £1,504 and £1,638 per month to live in a one-bed and between £1,971 and £2,232 for a two-bed. That includes the rent and the mortgage on the portion of the property the buyer owns.

“We’ve kept the rents low – to 1.75% in comparison to a typical shared ownership rate of 2.75% to make sure these properties are affordable.”

Landmark Pinnacle is located within easy walking distance of all of Canary Wharf’s amenities and transport links.

“It’s an iconic building and the location is fantastic,” said Helen.

“For anyone working in the area, it has all that on its doorstep and the estate isn’t Monday-to-Friday any more – there’s so much going on at the weekends.

“There are lots of developments in the area, but people who have seen these apartments have been really pleased with the outlook, the specification and what’s on offer. They’ve been received really well.”

Apartments come with open-plan living areas, fully fitted kitchens with integrated appliances, rainfall showers in the bathrooms, climate control systems and floor-to-ceiling windows.

The one-bedroom homes also feature winter gardens that can be used for a variety of functions.

The service charge covers access to the concierge service and the building’s indoor garden on the 27th floor as standard.

Unusually for shared ownership properties, buyers can also choose to opt to pay more and gain access to all of the building’s facilities, which include a private cinema, private dining rooms, 75th floor roof terraces, a lounge, a library and a residents’ gym.

The apartments feature an open-plan design

“If you buy here, you’re buying into a lifestyle,” said Ashton. “We’ve had developments before that might have been amazing but didn’t offer shared ownership buyers the option to access the amenities.

“Here that doesn’t happen and because that’s possible it really allows people to live the lifestyle they want to.

“Many of the people who have moved in have already expressed an interest in opting in when those facilities become available, which is set to be by next April. We expect more or less everyone to end up doing it.

“You can’t opt out again once you’ve opted in, but if someone buys a flat later on, they can always take up the offer then.”

Poplar Harca has show flats dressed and ready to view at the building. Under shared ownership, prospective buyers typically pay a 5% deposit on the share of the property they’re buying.

That means, for the cheapest home available at Landmark Pinnacle, saving up £6,750 to get a foot on the ladder.

Email sales.enquiries@poplarharca.co.uk or call 020 7538 6460 for more information

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October 13, 2021

Isle Of Dogs: Personal injury lawyer secures £1.25million settlement for client

Kidd Rapinet Solicitors’ Vashti Prescott explains the importance of seeking legal advice after an injury

Vashti Prescott is a personal injury lawyer at Kidd Rapinet – image Matt Grayson

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Mohamed Morad didn’t know when he put his helmet on and climbed onto his motorbike on a summer’s day in 2016 that his life would change forever.

Born and bred in Egypt but with an Italian passport through his mother, he’d travelled to the UK in May 2015 in the hope of earning money to support his wife and child and their unborn baby.

With no home of his own he led a life taking odd jobs in bars and restaurants, sleeping on friends’ floors and sofas or paying for nights in budget hotels.

It was while working as a fast food delivery driver on that June day that disaster struck. A taxi pulled over illegally to drop off its fare and the passenger opened the rear door of the vehicle directly into Mohamed’s path.

It was the moment those riding bicycles and motorbikes on London’s streets live in fear of – an unexpected obstacle with no hope of avoiding it.

Mohamed was knocked off his bike, sustaining very severe injuries that, after extensive surgery, left him permanently in a wheelchair with one leg stretched out in front of him.

He developed chronic pain syndrome and remains on a cocktail of daily medication. He has suffered bouts of severe depression, often contemplating whether to take his own life.

Medical experts have unanimously agreed that nothing further can be done to ease his physical condition save an above the knee amputation, which for religious reasons Mohamed won’t consent to. His story is a snapshot of a life shattered in an instant by terrible injury.

The fight to get Mohamed compensation has been long and complex but, five years after his accident, Isle Of Dogs-based Kidd Rapinet Solicitors settled his claim for £1.25million this year – an amount that recognises that he will never work again.

Personal injury lawyer Vashti Prescott, who represented him, said: “Since his accident Mohamed has been reliant on other people for all of his basic needs.

“During the height of lockdown he went days alone in his apartment unwashed and dependent on volunteers to bring him food.

“He lived in squalor and, in addition to the difficulties of his physical condition he has really severe psychological problems. He knows his wife and children are overseas and he hasn’t even seen the younger child other than by talking to them daily on his phone.

“Ahead of the conclusion of the claim and with the help of Kidd Rapinet’s immigration department we managed to bring Mohamed’s family to the UK in March.”

This however was deemed to be a change in circumstances by the Government which stopped his benefits, putting enormous financial pressure on the family.

“Mohamed wanted to settle for £1.25million and while the process has been long and difficult, we hope the outcome will help him and his family,” said Vashti.

“We will assist him in investing the compensation to ensure funds last well into his future.”

The Met Police report allowed the parties involved to be identified

Kidd Rapinet, which has offices at Harbour Exchange, is sharing Mohamed’s story to raise awareness of the role lawyers can play in similar situations to ensure those who suffer injuries through no fault of their own receive the compensation that they deserve.

“They should immediately seek legal advice,” said Vashti. “If something like this does happen to you, it’s important to document your injuries in as much detail as possible.

“Keep a pain dairy. The way you feel changes overtime. You might have very severe acute pain, which might then become a dull ache. It’s important to be clear how an injury and its symptoms affect you and to record that.

“Compensation is not just based on the nature of an injury – one person might break their leg and make a fairly quick recovery.

“Another might sprain their ankle but then suffer symptoms that affect them on a day-to-day basis for much longer. In this case the second person would get more compensation.

“Also document medication, not just the kind of medicines but the dosages and how they change. People should also keep a record of losses as all this information will be useful to your lawyers later on.”

“A solicitor will look at your claim, make an assessment and decide whether they will take it on a no-win, no-fee basis.

“If they do decide to take on the claim it simply means they will act for you. If successful, they will then take a fee, which is capped by law at 25%, although we only charge 20%.

“That fee is only payable on past losses and pain and suffering. All of a client’s future losses, which in Mohamed’s case, for example, were a large proportion of the £1.25million, are ring-fenced.

“Had we not been successful in his claim, we would not have charged him anything at all.

“In Mohamed’s case we applied for the police report into the accident and we used that information to identify the various parties involved.

“That enabled us to bring a claim against the taxi’s insurance company, having established the vehicle had pulled over where it shouldn’t have done.

“You don’t just claim compensation for the injury – you look at loss of earnings, care costs and the hidden costs incurred as a result of it.

“The more serious a claim, generally speaking, the longer it will take. Normally by about three years the doctors know where you stand with a serious injury and whether there’s anything more that they can do for you or might be done to improve your prognosis.”

A solicitor will then fight your corner for the best possible level of compensation on the merits of the individual case.

Vashti said she felt the law should go further for awards over a certain level, making it a legal requirement for a court-appointed, independent financial advisor to help claimants to ensure they invest the money they get sensibly to ensure it fulfils its purpose.

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October 3, 2021

Isle Of Dogs: London Horror Festival shows set to appear at The Space for the first time

The former church will host as series of productions as part of the 2021 festival from October 19-31

Birdwatching is set in a bitterly cold forest

BIRDWATCHING
Miranda Barrett’s new one act play sees three young people engaged in making a horror film in the middle of a bitterly cold forest. Expect creeping dread punctuated by moments of terror as old hates and fears are laid bare as the light starts to die. 
Oct 22-24, times vary, £15
Livestream Oct 24, £10

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For those who enjoy the tingle of fear creeping up their spinal columns, there can be few places better to watch a chiller unfold than in the shadowy confines of a 162-year-old former church.

So devotees of the sinister, rejoice – for the first time in its 11-year history, a serious slice of the London Horror Festival, is set to carve up the foul and fetid air at The Space arts centre. Seven shows will grace the stage at the Isle Of Dogs venue from October 19-31, with many also livestreamed on specific dates.

The Space’s artistic director Adam Hemming said: “This is the first year we’ve been involved and we’re very excited to be hosting these shows.

“We’ve been programming a bit of horror here and there for a while, so the venue is quite well set up for spooky shows.

“It’s a really mixed bag of work – what I really love about the festival is the different ways the artists involved are telling these stories.

“There are some pieces of new writing, there’s an LGBTQIA+ play, there’s a cabaret night and there are some one-person shows and an interactive piece by someone who works in gaming and has created an immersive work and then there’s a musical.

“One of the highlights will be the first show on the bill, One Man Poe is by an actor – Stephen Smith – who did The Black Cat earlier this year when we were still in lockdown and we couldn’t have audiences.

“He performed the play on Zoom, essentially as a one-shot film that followed him round the entire venue. He’s an incredible performer.

“The fact he’s doing four Edgar Allan Poe stories in one evening for this performance is going to be pretty extraordinary.

“We’ve been livestreaming since the beginning of the year and we’ve seen some of the work produced this way nominated for awards so we’ve got really good at it. If you’re not able to get to The Space, it’s a really great option. It also means we can make the productions available for longer for people to access.”

The festival’s other productions will be performed at The Pleasance theatre in Islington.

Look out for these shows at The Space

ONE MAN POE 
Stephen Smith faithfully brings four of gothic horror godfather Edgar Allan Poe's tales to life using the original text from the 1840s. An insane asylum inmate describes a murder he has just committed, a prisoner undergoes torture in the dungeons of the Spanish Inquisition, a mad alcoholic shares his story and a man laments the loss of his lover when a raven visits his chamber.
Oct 29-31, times vary, £15

Nightmares is a horror musical to watch online

NIGHTMARES

This online watch-party allows audience members to gather virtually for a horror musical that tells the story of a man plagued by nightmares and visions who wakes with no memory of who he is or what he’s done. Nothing is what it seems and, naturally, there’s a corpse in the cellar. 
Oct 28, 6pm, £10

Expect magic, drugs and wolves in To Be A Bat

TO BE A BAT
This new play explores the unreality of magic, corrosive grief and a queer coming of age fractured by loss as Moi seeks to deal with the death of brother Jo through virtual modelling, drugs and consultation with a sometimes-wolf in a cemetery. 
Oct 29-31, times vary, £15
Livestream Oct 31, £10

STOP IT
This immersive experience was once a kids’ show that’s lost its nature to the decay of time. Via endless performances to dust and cobwebs the actors have gone mad, their minds tortured by nonsensical cues. Audience members are simply challenged to put a stop to it. 
Oct 29-31, times vary, £15

TALES OF THE CRYPT CABARET
Glamorous ghouls, creepy burlesque and art performance – what’s not to like? See Marquissa Darq disappear into a melting pot of plastic surgery, Gypsy Viva hiding a dark secret, Foxy Velour who isn’t what she seems and Lady Lazarus. Expect puppetry, nudity, videography and live acts. 
Oct 26-28, 8pm, £15
Livestream Oct 28, £10

IRVING UNDEAD
Join Henry Irving’s restless spirit as he tells the story of how he transformed himself from a stuttering, spindly country boy into the most formidable actor of the 19th century. This resurrection of the greatest horror star of his day comes from actor James Swanton – the story of a man unable to escape his monsters even in death.
Oct 22-24, times vary, £15

Livestream Oct 24, £10

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August 24, 2021

Isle Of Dogs: University Of Sunderland In London expands beyond Marsh Wall

Lynsey Bendon talks space at Harbour Exchange as growth follows increased student demand

Image shows the University Of Sunderland In London's Lynsey Bendon — The University Of Sunderland In London’s Lynsey Bendon

“We were shown a lot of different places, but this is where we want to be – it’s perfect – it works for us and it works for our students,” said Lynsey Bendon.

There’s excitement in the voice of the assistant director of operations and student experience at the University Of Sunderland In London as she talks about its expansion at Harbour Exchange on the Isle Of Dogs – a move that will allow it to keep up with demand for places while retaining the links it’s built in the area since its creation in 2012.

“It’s on the opposite side of the DLR tracks to our Marsh Wall site, so it’s very close by,” said Lynsey. “We’ve been able to start with a blank canvas to design what we need as a teaching space.

“It has flexible rooms and it’s a lovely environment in terms of group and study areas. We’ve listened to what our students need and want – everything down to having a kitchen that’s really accessible where they can make their own food but also meet with staff. We’re thrilled.

“It’s also really nice to be able to grow from where we are because the students love our location next to Canary Wharf and our connections to local businesses but also the food, culture and shopping.”

The expansion of the campus, which will see the university taking a whole floor at Harbour Exchange, has been driven by significant demand.

More than 4,400 students attended courses at its Marsh Wall base over the past year, with 2,794 joining across four intakes since March 2020.

While about 10% are international – reflecting perhaps the university’s outward-looking stance, having opened a Hong Kong campus in 2017 – about 50% are drawn from nearby London boroughs.

“Our students are what we call in the industry ‘non-traditional’,” said Lynsey. ”The average age is 36 and we have 60-40 female to male split.

“Our motto is that we’re a life-changing university and we like to think that our people don’t necessarily come to us straight from school, but with a measured decision that they want their lives to change, which we hope to facilitate.

“We quickly realised there was a demand here in London and we tailor our courses to our students – we don’t expect them to be 18, straight out of school.

“We expect them to have experience that they can talk about and build on. When we started, some of the courses were targeted that way, but we’ve rewritten them and developed them through talking to our students to meet their needs.

“Ultimately we want them to progress, we want them to do the best they can for themselves and to fulfil their potential.

“You can’t just teach something – you have to build it around them. Our students are very vocal, which is extremely helpful when you work in the role I do, because you need ongoing conversations. We want to be there, supporting them, to help them succeed.”

Lynsey, who joined the University Of Sunderland In London in January 2020, is well placed to have those conversations, having left school after her A-Levels.

She said: “I was then unemployed for a short time before going into the workforce. I worked in banking in London in the 1990s, which was a very interesting time. When I came to have my children, I realised that it wasn’t a career I could stay in, so I left the workforce for a bit.

“Then I went back as a part-time member of staff on the help desk at the University Of East London. After a few years I specialised as an international student adviser before joining London Metropolitan University as compliance and immigration manager in 2014.

“That was challenging and taught me a lot – but I realised that I wasn’t going to progress further in my career without higher qualifications and at that point I was very lucky to be able to participate in a postgraduate certificate through my employer at that time, with the University Of Nottingham.

“So I was there, at 39, looking at a blank sheet of paper, never having done a first degree, absolutely out of my depth, and I can completely relate to our students, when they get to that point.

“But it gave me so much, some fantastic experiences and it taught me so much academically – both how to write reports and also all those things you don’t necessarily associate with academic learning. It also gave me so much confidence that I could do these things.

“I always say the tears were worth it, but I had such a good time, it outweighed any difficulties and it enabled me to go into management.

“So, after becoming the international immigration manager at London Met, I became head of student services and, in January, came here. Then lockdown happened in March, so it’s been quite a year. I had to learn quickly because I’m also the Covid lead for the London campus.

“Fortunately, it’s a really vibrant place, and a really great community, so people were very forgiving when I asked the same question for the sixth or seventh time, because I didn’t quite understand what went where.

“Our student growth over the years has been pretty consistent so I don’t think our current figures are down to people looking for a new direction just as a result of Covid.

“In our admissions process, we speak to each student individually and help them to make sure they are taking the right decision for them.

“The pandemic has shown us aspects of strength in our teaching and other areas where we’ve been forced to introduce things that we’re going to keep. We’re lucky that we get lots of people coming to us through word-of-mouth – Mr X may come to sign up with us in September and then Mrs X will follow in April – and you only really get that if you’re giving people what they want and the best tools for success.”

The University Of Sunderland in London offers courses across four main areas – business and finance; tourism, hospitality and events; nursing and health and engineering at both undergraduate and postgraduate level. The campus also offers Master Of Business Administration degrees – MBAs.

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July 30, 2021September 20, 2021

Isle Of Dogs: How east London author’s work introduces banking to children

Nithya Sridharan – writing as PecuniArt – has published her first book, titled The Magic Box

Isle Of Dogs author Nithya Sridharan – image Matt Grayson

“My grandparents were exceptionally good storytellers,” said Nithya Sridharan. “I grew up in a joint house in Bangalore, where they lived with me and my parents. Every night me and my sister would be packed off to them for a while and they would tell us stories.

“My grandmother was a mathematician and they would weave complex topics such as algebra and geometry into the stories, which were often about the village where they grew up. As city-bred girls, me and my sister were completely enchanted by them.”

The Isle Of Dogs-based writer recently published her first book – The Magic Box – a story that similarly seeks to educate as well as entertain, although drawing on Nithya’s wealth of experience working in the financial services industry in Canary Wharf, rather than maths.

“The story, which is aimed at children aged seven to 11, came from starting to think about how I could weave some key financial concepts into a fun, magical tale, which is also south Asian, because I wanted to bring that flavour into books,” she said.

“A lot of it comes from living and learning in that part of the world. The story is set in a tropical town called Lokpuram and it follows three children who are trying to solve a problem that involves money. There’s a magical character in the mix as well.

“Within the story there are a lot of concepts that are blended together, which makes it easier for kids intuitively to understand key financial ideas, such as how a bank works, what one is and how it has money.

“There’s one part of the book which I personally enjoyed writing, that is about central reserve banking. I don’t use the words, but the concept is there and it’s woven into the story.

“We start with the idea of a bank and how borrowers and lenders can come to such an institution – a place that connects them – and shows how the basic business of banking works.

“I also talk about interest rates as a fee, which you pay on top of what you borrow. If you think about the origins of banking, the idea has been around a long time, but not in the forms we see today.

“The word ‘bank’ comes from the word ‘panca’ in Italian, which means ‘bench’. It started with people sitting down and trying to put borrowers and lenders together.

“They used to have IOU notes, which later evolved into the money and currency that we know today.

“So these concepts have been around a long time and people intuitively understand them, even if they haven’t heard of the terms before.”

Writing under the name PecuniArt – a portmanteau of the Latin word for money and art – Nithya was driven to write her book to help boost people’s knowledge of the financial world.

“I wrote the book because financial literacy is key to the world we live in – everybody uses money,” she said. “Recently there was a study which was done by the Pensions Institute, where they found that, if you look at the population of young adults, one third of them did not understand concepts like interest rates and inflation.

“I suspect lots of adults don’t understand either, even though these terms are constantly in the news.

“Research has shown children and young adults who are basically financially literate have an easier time in their lives – they’re better able to access low-cost loans, have better credit scores and less debt delinquency.

“I feel that with the world that we live in, if you know how to interact with money, what these concepts mean and what the economy is, then you’ll engage with it better, not just in terms of borrowing and lending, but also in terms of your own personal wealth and wellbeing. You’ll know what to do and what it means when the interest rates go down – you won’t get caught out by high interest payday lenders.

“The book is meant to be read as an introductory view of what a bank is, rather than as a detailed analysis of what the world is today.

“There is a section in the book – titled the concept check – where I talk about whether what happens in the story is real. I didn’t want to go into greater detail in terms of what you get from banks, or the stock market today, because I think that’s more advanced.

“The whole point of the book is to introduce these concepts and, obviously, it’s a magical story, so it’s not intended to be taken literally.”

Nithya, who has lived on the Island for six years, said she hoped to foster a sense of inquisitiveness about the financial system in the minds of her young readers.

“I want them to understand the concepts, but also for them to be something kids are curious about,” she said.

“I’ve had some feedback from children who have read the book, and it’s interesting that some hadn’t thought about these ideas previously – they asked a lot of questions about how it all works.

“I also hope the story gives them enough information on what these concepts are, so that they can ask and engage with adults on all those questions, and find out more about them – that it makes them curious. The feedback I’ve had has been that the kids are very engaged with the magical aspects of The Magic Box.

“The very young ones are disappointed that this part isn’t real. What was very encouraging though, was that even young readers were interested in the subject after they had read the book. You might think that banking, economics and finance sound very technical and not easily accessible, but I’m pleasantly surprised people actually find them interesting – I was hoping for that outcome.

“This is definitely an area schools should be focusing more on. An element of financial literacy should be open to all.

“There are a lot of resources out there already – the Bank Of England, for example, has a financial education portal. While some schools are doing good work, I certainly believe there should be greater involvement from them in providing financial education.

“A study by the Organisation For Economic Co-operation And Development looked at financial literacy for kids across the globe in 22 countries and found that, in certain states, policy intervention was needed to increase those levels.”

While The Magic Box – available in paperback via Amazon priced at £9.99 and at selected bookshops in London – is PecuniArt’s first title, Nithya is already thinking about another book.

“For the next one I will think about how to break down a very complex concept, like the economy,” she said.

In the meantime Nithya will continue sharing posts about money and art for both adults and kids via her Instagram account – @pecuniart.

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