Leamouth Archives - Wharf Life

November 20, 2024November 20, 2024

Emily Jo Gibbs embarks on artist residency at Trinity Buoy Wharf

How silk organza and thread are worked into portraits and pictures that depict the people she meets

Artist Emily Jo Gibbs - image Jon Massey — Artist Emily Jo Gibbs – image Jon Massey

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There’s a clear sense you get when talking to Emily Jo Gibbs that making work is simply a natural response to the world around her.

For the next six months, she will be artist in residence at Trinity Buoy Wharf and aims to capture something of the place and those who call the Leamouth creative hub home.

“I’m hoping to meet other people, see the things that are going on here, hear stories and make work about them,” said the Forest Hill resident.

“I’ve already met the guys who are restoring the SS Robin and heard about their backgrounds in blacksmithing, cabinet-making and carpentry.

“That research will evolve into finished pieces and there will be an exhibition of those.

“Part of the project is also to run workshops too, although those are still being arranged.

“What is certain is that I’ll be hosting Stitch And Talk sessions at The Orchard Cafe.

“It’s about being here, meeting people, drawing, stitching and seeing what comes out of that.”

The stitching is key to Emily’s practice as she uses appliqué embroidery and silk organza to create her pieces.

Taught to sew by her mother, it’s a style that’s emerged from her background as a crafter.

Emily Jo Gibbs at work on one of her pieces — Emily at work on one of her pieces

a journey through materials

“I grew up in a family of makers and designers and I was passionate about art and making growing up,” she said.

“I actually went to study wood, metals and plastics at Wolverhampton University and it was only in the third year of that course that I started making fashion accessories in textiles and metal.”

Unsure what direction she wanted to pursue, she dabbled in leather work and shoe-making but ultimately found the processes restrictive after the comparative artistic freedom of her university course.

Building on the success of her degree show she managed to secure funding to start a small business making high-end handbags in London.

“That really took off and it was very exciting,” she said.

“It was ironic because I’d been quite intimidated by fashion students when I was doing my degree.

“But I did well because I was interested in materials.

“My bags were featured in Vogue and other magazines, travelling to Paris and Japan.”

After a decade of making, Emily changed direction when she had children, taking a “convenient” admin job.

While the handbag trade was unpredictable, she realised how important having a creative outlet was to her and began making work about her family.

“I used silk organza that I had from making the bags, initially for my own pleasure – portraits in what I call flat-work because they weren’t three dimensional like the accessories,” she said.

“That evolved as well. I went on to do portraits of kids who lived in our street.

“Through Craft Central in Clerkenwell I reconnected with Bridget Bailey who had been on the fashion scene making hats and was repositioning herself as an artist too.

“We got chatting about doing a collaborative project and I wanted to make a portrait of her, but she was quite shy about that.

“That got us thinking about other ways you could depict an artist, so I made a self portrait of her and me by depicting our pin cushions.

“I then did a whole project with seven contemporary makers, meeting them, talking to them and making portraits of them through their tools.”

Emily's art combines embroidery with translucent layers of silk organza — Emily’s art combines embroidery with translucent layers of silk organza

making work

Emily’s practice involves the combination of delicate stitches – each done by hand – with the translucent, ethereal finery of her chosen fabric.

“It feels really good to say that I’m an artist – I’ve now been doing it longer than the time I spent making the bags,” she said.

“It’s lovely to meet other makers and make work about them.

“There are a lot of artists in the world who may not be working in contemporary craft, who may be quite hidden, and I’m interested in those people.

“I did a nice project with a boatyard in Lymington because it had a really interesting apprenticeship scheme.

“There I took photographs of the people and talked to them, and made work about them.

“Since doing that, I’ve been trying to get a project where I’m embedded and get to know the people better, and see how the work evolves.

“That’s how I came to apply to Trinity Buoy Wharf – they really liked my work and the projects I’ve been doing and selected me for this residency.

“Here I feel there’s lots going on behind closed doors, and I’d like to know what that is.

“The really exciting bit is not knowing exactly what’s to come and what I’m going to make while I’m here, engaged in this project.”

A piece depicting a tradesperson's tools — A piece depicting a tradesperson’s tools

key details: Emily Jo Gibbs

Emily Jo Gibbs is artist in residence at Trinity Buoy Wharf for the next six months, culminating with a display of her work during London Craft Week in May.

Dates are yet to be confirmed.

Emily will be hosting drop-in Stitch And Talk sessions from 10am-noon on Tuesdays in November 2024 at The Orchard Cafe in Trinity Buoy Wharf.

These are for anyone interested in creating some art or finding out more about her practice and are free to attend. Materials and ideas provided.

Follow the artist on Instagram for details of future projects or find out more via her website

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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

October 15, 2024October 15, 2024

Forge Art Fair relocates to London Lighthouse Gallery And Studio

Isle Of Dogs showcase finds a new home at Sokai Higgwe’s London City Island space

Forge Art Fair founder Carolina Kollmann

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Anyone who visited the Forge Art Fair in 2023 will have felt the buzz.

Founder Carolina Kollmann and her team packed Craft Central’s Westferry Road base with art, artists and people to appreciate them and their work.

The charity may be no more – with its crafters, artists and tenants ejected from the Isle Of Dogs building following its unexpected collapse, earlier this year – but, nevertheless, Carolina’s vision lives on.

That’s in no small part thanks to artist and photographer Sokari Higgwe.

The founder of London Lighthouse Gallery And Studio at London City Island had visited the fair in 2023 on the advice of residents and neighbours.

So when Carolina and her co-curator Tammy Walters were looking for an alternative location to host this year’s event, he stepped in, allowing it to grow in scale and scope.

The Forge Art Fair 2024, is set to kick off at the gallery with a private view on November 1, before opening to the public on November 2 and 3.

The Forge Art Fair will take place at London Lighthouse Gallery And Studio

the Forge Art Fair: curated by artists

“The event is curated by artists to showcase talented creatives – it’s a unique, affordable opportunity for people to immerse themselves in and understand the world of contemporary art,” said Carolina.

“My idea when creating the fair was to bring art from across the UK to east London, but also that it should be connected to the local area.

“As a curator, for me, quality is the most important thing.

“As an artist, someone who is always creating, I want to showcase people who are serious in what they are doing.

“Yes, the work has to be affordable, but it has to be art that says something by an artist that can communicate properly.

“We were very lucky to have a lot of applications to show at the fair and so we had to make choices.

“Even though we are growing, I wanted to ensure the artists are all completely different so there is a real range for people to see.”

A piece by Venetta Nicole, who will be exhibition at the Forge Art Fair 2024

a multitude of artists

The Forge Art Fair is set to feature work by Kathy Miller, Venetta Nicole, Alexandra Moskalenko, Miguel Sopena, Dom Holmes, Abi Jameson, Jairo Nicola and Imogen Hogan as well as Carolina, Tammy and Sokari.

The fair has also teamed up with the Women In Art Prize to offer the winner of its Young Artist award space to exhibit.

As a result, Nancy Singh will be showing and selling her work at the event.

While works from all the artists will vary in price, pieces will be available from £50 with the structure of the fair contributing to its affordability, with no third parties placing charges on the artists.

Visitors can expect to see a wide variety of pieces, including Carolina’s 3D paintings and Sokari’s photography, meet the people that created the work and support creativity by purchasing art if they so choose.

“This will be an autumn art experience like no other – from traditional paintings to textiles, multi-disciplinary creations and abstract pieces – it’s perfect for art enthusiasts of all ages from the local area and further afield,” said Carolina.

Artwork by Forge Art Fair contributor Dom Holmes

key details: Forge Art Fair

The Forge Art Fair 2024 will run from November 2-3, 2024, at London Lighthouse Gallery And Studio in Lyell Street. Entry is free.

The gallery is located in the same building as English National Ballet at London City Island and is a short walk from Canning Town station.

There will be a private view on November 1 from 5.30pm. Those wishing to attend should subscribe for updates from the fair organisers.

Find out more about the showcase here

Artist, photographer and gallerist Sokari Higgwe

meet the artist: Sokari Higgwe

“When people who are not your friends start buying your work, it’s scary,” said Sokari Higgwe, artist, photographer and gallerist.

The London City Island resident spent two decades working as a database engineer for the Bank Of New York and UBS before turning a passion for his hobby into a career.

“I mostly do abstract architectural photography but also portraiture,” said Sokari. “

I’ve loved both taking pictures and buildings since I was a child, so it was easy to put the two things together.

“In my pieces I want to show aspects of architecture you wouldn’t think about when you just look at a building.

“For years my day job was working in the City for UBS.

“Before that I was in east London, employed by the Bank Of New York, looking after 30% of electronic trading and making sure it was running smoothly – a big responsibility.

“The artist in me was always, there through my hobby. After 20 years I was getting bored and I wanted to express myself creatively.

“But, as a self-taught photographer, I always felt I was an imposter. I wasn’t confident. I’d joined the camera club at UBS and that was where my interest got stronger.

“Then I got a break when a gallery offered to show my work at an exhibition in Mile End.”

Successful solo shows followed and Sokari found himself much more absorbed by his creative work than by the databases he managed.

So he decided to take voluntary redundancy when it was offered and embarked on a new chapter in his life.

“I thought this was my chance to do photography full time,” he said.

“I started looking for a gallery and a studio where I could do portraiture and create art using models and props.

“I opened the London Lighthouse Gallery three years ago, after searching for quite some time.

“London City Island was one of the best places to do that because of the creative community locally and especially as I moved here eight years ago.

“I really love the history of this part of town, knowing it used to be the engine of the country when the docks were operating.

“One of the reasons for opening a gallery was to help promote artists like myself who haven’t gone the conventional route.

“I know it was a struggle for me to get myself out there because I wasn’t a professional. The idea is to have this as a space where creatives can feel free.”

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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

October 5, 2024October 5, 2024

The Eleventh Hour finds its niche serving coffee on the Isle Of Dogs

Entrepreneur Daniel Bull on opening The Lockdown Room and The Eleventh Hour in east London

Image shows Daniel Bull, the man behind The Eleventh Hour and The Lockdown Room, drinking a cup of coffee — Daniel Bull, the man behind The Eleventh Hour and The Lockdown Room

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BY LAURA ENFIELD

He is the kind of guy who runs a spontaneous marathon on New Year’s Day and goes on to clock 3hrs15 for the London event.

The kind of guy who sold sweets in the playground aged 13 to make money and, by 17, was the top salesman in a car dealership.

The guy who can lead a failing coffee shop business through the pandemic and emerge with venues The Eleventh Hour on the Isle Of Dogs and The Lockdown Room at London City Island.

“I remember my sister went on a ski trip with school and I said ‘Can I take the cash option?’ and bought DJ gear with it,”said Daniel Bull on his first move as a teen entrepreneur.

“I was into my music and saw the business opportunity, because what else can you do at that age?

“So I put an advert in the Yellow Pages and off I went.”

This seemingly innate entrepreneurial drive has always been matched by an attitude of never giving up – which emerged when he wrote off his first car after two weeks.

“I thought I would never get insured again so I emailed a few car dealerships and said I would work for commission only,” said the Isle Of Dogs resident.

“I was back in a car within a week.

“At 17 I was a top salesman and within two years I was managing the dealership.”

It was also this mindset that saw him land a spot on an MBA course aged 26 with almost no formal qualifications.

“So many business schools turned me down because I didn’t have an undergraduate degree, but I managed to get a fairly decent GMAT score and ended up going to Cass, which is now Bayes Business School,” he said.

“I was the only person without an undergraduate degree, but they liked that because they were trying to diversify the class and not just have a cohort full of investment bankers.”

It was while studying that he crossed paths with floundering company The Espresso Room.

It opened one of London’s first speciality coffee shops in 2009 on Great Ormond Street but by 2019 the owners were considering cutting and running.

Daniel picked up the baton as part of his final project and ended up taking it over.

The cafe is located on the ground floor of Wardian off Marsh Wall

turning things round

“There were two investors at the time and they said it was losing money and wanted to know if they should sell it or if it could be turned around? The product was amazing, but behind the scenes, it was a mess,” said Daniel.

“So I did a whole turnaround plan and decided to invest in it.

“I ended up opening two more shops with them and then the pandemic hit.

“Three of the four coffee shops had to be closed and most of the staff furloughed.

“We were basically bankrupt, but I decided to take it on fully and to fight to keep it going.”

The Bloomsbury branch had survived and Daniel and his team landed a gig handing out subsidised coffees to NHS workers battling Covid.

“I didn’t really know what I was doing and it was a whirlwind, but we kept busy. I think that’s why we survived,” he said.

“A lot of people threw the towel in during that time. I didn’t.

“I took a £50,000 bounce back loan and worked around the clock to make something happen.

“I kind of wish we’d gone online now like Grind did but I’m not complaining, because we managed to keep half our team.”

Instead of turning to the internet, he focussed on the community in Leamouth where he was living at the time.

His venue at English National Ballet had shut down and so he began offering a grocery delivery service to residents.

Through the various restrictions, it evolved into what is now known as The Lockdown Room.

The Eleventh Hour serves up a wide array of pastries and food

launching Lockdown

“When everyone realized how bad things were and supermarkets and shops were staying closed, we asked the developer Ballymore if it had an empty space,” he said.

“They threw me the keys for one of their biggest retail units on the island.

“It was an empty shell with no water, no lights – nothing – and was full of old desks and chairs all covered in dust.

“We put a table out at the front and became a grocery pop-up.

“A few weeks later we put in a coffee machine and after a month a pint machine and ended up with loads of east London craft beer.

“Then, around June 2020, we bought a PA system and started doing live music outside and theme nights.

“We were building this community as we went along.

“We got a lot of residents involved and some friends set up a kitchen, and started doing Vietnamese street food and some other friends started doing a bottle cocktail business.

“It was an interesting time. I would never have thought to open a bar there, but it was definitely a fun project.

“Now we’ve had to diversify and scale it back a little bit, but we’ve also brought in our own Mexican street food concept called Taco Hut and get events with 400 people being booked in.

“We’re not just a standard venue. We’ve sort of found our niche and we get a lot of repeat bookings and repeat customers.

“So yeah, we’ve learned.

“It’s the hub of the community there and people are now recognising what we do as a business with all our venues.

“We’re not just the place you go to grab a product and leave. It’s about much more than that.”

A staff member makes a coffee at The Eleventh Hour

opening The Eleventh Hour

Today Daniel has 35 staff and manages his brands and venues under The Bull Group.

They include The Barre at the English National Ballet and the Lockdown Room, both on London City Island and The Eleventh Hour on the ground floor of Wardian.

Despite the fact he speaks roughly 12,000 words in our 70 minute interview (that’s almost three words a second) Daniel is not fuelled by free caffeine from his shops.

Instead, he starts every day with a glass of water and a ginger shot, followed swiftly by a healthy juice or shake.

These are consumed in his Wardian flat before he descends a few hundred feet to his coffee shop below to check it is all running smoothly.

The Eleventh Hour opened last November and, like all Daniel’s venues, has found a niche.

“Before we opened a lot of people didn’t really know each other – no one really spoke to each other in the lobby,” he said.

“Now everyone feels they can talk and get to know each other and it’s amazing the difference it made even within a month.

“That’s what makes it fun and not feel like work.”

different designs

The space was created with interior designer Anna Moller, who also worked on The Lockdown Room and the penthouse at London City Island.

“She’d never done commercial,” said Daniel.

“Her background was high-end residential stuff, so it has created an interesting mix.

“We wanted it to be a neighbourhood coffee shop – a place that is warm and a home-from-home, where people just want to hang out.

“We’re not a big chain where we’re just trying to do them cheap and roll them out.

“Every venue we open has personality.”

The coffee it serves is a house blend made by a roastery in Winchester, but Daniel has also started introducing coffees discovered on his travels around Europe.

About 70% of the food menu is made at a central production kitchen, with items such as brownies, cookies, sausage rolls and energy balls made by a long-standing pastry chef and pastries supplied by a local bakery.

Having got the coffee crew rolling in, Daniel is now about to launch a cocktail menu with a party on October 31 to entice in an evening crowd.

“We thought we’d go big for Halloween,” he said.

“I think there is demand for this here. Even in Canary Wharf, there’s not many quirky neighbourhood bars.

“We wanted to crack the daytimes first, because the quality can slip if you’re trying to do everything at once.

“Now that we’ve nailed that, this is like a second phase.”

The cocktail menu will be served Tuesday to Saturday from 3pm to midnight and includes five different espresso martinis and a menu of gourmet bar snacks.

Not content just tackling the evening scene Daniel is also about to enter the health food market with Supershakes, due to launch on the Isle Of Dogs and as a pop-up at Royal Wharf later this year.

It will be a step away from coffee towards a more health conscious offering – driven by Daniel’s own fitness makeover.

He ran his first marathon on a whim four years ago and now regularly competes in Ironman events, mostly without any training. He also gave up alcohol two years ago.

Takeaway cups stand ready at The Eleventh Hour

more of a challenge

“I do like the fact of proving the impossible in a way,” he said.

“People who train for six months or a year, I’ve got a lot respect for them, because that’s what you’re supposed to do.

“But part of me likes to give myself even more of a challenge.

“I’m an all or nothing person – I used to get a buzz from partying and drinking and now I get it from this.

“I have learned not to be like that in business though, to not sacrifice everything for it.

“I know a lot of people who have done that and they’re not happy.

“For me it is about keeping a balance.

“I almost burnt out two years ago, because I didn’t have that and was using going out and drinking as stress relief – it was a recipe for disaster.

“But I found that if I keep nutrition, sleep and exercise in check, everything else seems to fall into place and be a bit more manageable.”

Keeping the balance in work is also a constant challenge but one Daniel is more than up for.

“The coffee scene is definitely saturated,” he said. “People’s attitudes have changed, with more supporting local and wanting to know about sustainability and that employers are paying the right wage.

“The pandemic was survival of the fittest and the coffee industry is definitely a lot tougher now. I wouldn’t go into it again because – with increased rents, wages, the cost of coffee, packaging – it’s not an easy win.

“We’re surviving because we’ve diversified.

“It’s like an Ironman – you just keep fighting.

“Nothing really fazes me anymore and I’m never short of ideas. If we were sat here twiddling our thumbs, then I’d be worried.”

key details: The Eleventh Hour

The Eleventh Hour is open Mon-Fri from 7.30am-5pm and Sat-Sun 8am-5pm.

Find out more about the cafe here

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

- 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

July 25, 2024July 26, 2024

Goodluck Hope offers tranquil homes with excellent connections

Ballymore’s Goodluck Hope development at Leamouth offers apartments and houses for sale almost completely surrounded by water

Goodluck Hope is seen with the rivers Thames and Lea surrounding it and The O2 just across the water — Goodluck Hope sits on land where the rivers Lea and Thames meet

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“Goodluck Hope is unique in London,” said James Boyce, associate regional sales director at Ballymore.

“It’s in Zone 2, but it doesn’t feel like that – it’s very tranquil, on a bend in the Thames, overlooking The O2.

“There’s this big expanse of water in front of you but, because it’s built on a peninsula, nobody passes through.

“That means people there can live really close to the action – Canary Wharf is just a short journey away – but it’s a sanctuary, almost completely surrounded by water.”

Increasingly a destination in its own right, the development is coming of age with a thriving community of residents enjoying an emerging crop of local businesses.

Layers Bakery serves coffee and brunch, while Taylor’s Of Goodluck Hope trades in farm fresh produce and recently opened a wine bar and deli in a second unit at Orchard Dry Dock.

There’s expectation that Hum Yoga + Meditation is set to expand its east London operation with a second studio at the development overlooking the Thames, as well as the cultural appeal of Trinity Art Gallery, so it’s clear the area’s attractions are only growing.

Little surprise perhaps, as buyers discover what’s on offer.

Image shows Ballymore associate regional sales director James Boyce, a man in a suit jacked and white shirt with grey and black hair — Ballymore associate regional sales director James Boyce

Goodluck Hope: available properties

“We’ve got something for everyone,” said James.

“There are studios – with sliding doors to divide up the space – one, two and three-bedroom apartments and two and three-bed duplexes with living spaces on the top floor that have amazing views.

“Then there’s a row of 19 townhouses along the main street, all painted in different colours, which gives the area a Scandinavian feel.

“These have really brought the ground level to life and they’ve been really popular – we’ve only got two left.

“They are three-storeys high and have either three or four bedrooms.

“Buyers get water views and access to the podium gardens at the rear. East London has surprisingly few houses and I think that’s why they’ve been so sought after.

“A lot of people have been brought up in houses, either in London or further out, so to live in one is quite a significant thing.

“Then there’s the fact you can walk out of your front door, cross the road to the bakery for a freshly-baked croissant and coffee, then go and sit by the river or chat to your neighbours.

“All of these things make Goodluck Hope a fantastic place to live.”

The property is on the market for £1,199,000 at Goodluck Hope — This three-bedroom home at Goodluck Hope is on the market for £1,199,000 and is accessed by its own private bridge

history + tranquillity

This has not come about by chance. Following the success of Ballymore and EcoWorld’s London City Island project, a few minutes’ walk away, Goodluck Hope was conceived to complement its amenities.

“We knew we had to elevate Goodluck Hope because it needed to be something special,” said James.

“Delving into the history of the area, the East India Company’s use of the nearby dock complex and its role as a major stopping off point for ships carrying goods in and out of London gave us a starting point.

“We wanted to celebrate the maritime heritage so, whereas most new-build developments were featuring full height glazing and standard facades, we built warehouse-style with Crittall windows and pitched roofs as well as really intricate brickwork that recalled the buildings that once stood on the peninsula.

“The development also benefits from being next to Trinity Buoy Wharf, which has long supported arts and culture in the area – providing space for artists, businesses, a school and one of the smallest museums in London on the site where Michael Faraday conducted his experiments with electricity.”

The home features three bedrooms including this one — The property boasts some 1,136sq ft of internal space plus a 236sq ft terrace

neighbouring amenities

Then there’s the ongoing interplay between City Island and Goodluck Hope, with buyers able to enjoy fitness amenities at both developments meaning access to both indoor and outdoor pools.

“Goodluck Hope has a residents’ clubhouse alongside its concierge facility,” said James.

“Within that you’ve got a co-working space, a Scandinavian sauna, a plunge pool, a swimming pool and a cinema, which has an Everyman feel to it.

“There’s a studio where the Ballymore fitness team run 20 classes a week including boxing and spinning as well as offering personal training sessions.

“Then there’s the Lantern Room, which is on the 29th floor – design-wise it references the Thames lighthouse at Trinity Buoy Wharf nearby, especially when it’s lit up at night.

“Exclusively for Goodluck Hope residents, we opened it in 2022 and it’s been really popular. It’s used as a work lounge during the day, which complements the facilities on the ground floor.

“In the evening the space is open for residents to host dinner parties, or for people to just take a couple of drinks up there and enjoy the sunset.

“It’s probably the tallest building within a kilometre of where it is and boasts views in all directions across London.”

The living area of a loft apartment at Goodluck Hope features open-plan design and a private terrace — The apartment is on the sixth floor and has an open-plan living area with a fully fitted kitchen

Goodluck Hope: a strong connection

“Another key attraction for buyers considering a move to Goodluck Hope is that the strength of the community has blown us away,” added James.

“It’s hard to describe, but there’s something about living on what’s effectively an island.

“It’s a place where you know your neighbours, whether that’s to say good morning to or just to make friendly eye contact.

“You know you’re an islander and there’s something really good about that.

“In contrast to more high-rise areas, where you probably won’t see many of your fellow residents, Goodluck Hope doesn’t have that density, so there really is a strong community.”

Again, this is not coincidental.

Ballymore has worked hard to foster an environment where those living locally get to know each other.

It’s part-way through its current events programme, which offers activities running though to September.

“That’s important for us because if people come and enjoy themselves, they will bring their friends and that’s really how you make a place,” said James.

“We did a survey of the residents at the beginning of the year, asking them what they wanted from the area.

“That’s why we have Workshop Wednesdays where residents can learn new skills such as croissant decorating, cheese and wine tasting, pottery or even singing.

“Then we have Thirsty Thursdays for people who want to socialise over a few drinks and enjoy some live music.

“Together with Film Fridays and Social Saturdays, there’s something new each week.

“The residents are very active, they attend a lot of the events.

“Together with our retailers, all of these things have made this place what it is – something special.”

key details: Goodluck Hope

Properties available at Goodluck Hope include suites, one, two and three-bedroom apartments, lofts and townhouses – all available for buyers to move into immediately. Prices start at £425,000.

Find out more about the development here or call 020 3797 1669 to arrange a viewing

Image shows Hum Yoga + Meditation founder Oriana Shepherd, a woman in a beige jumper with long brunetter hair — Hum Yoga + Meditation founder Oriana Shepherd

building a community

Having opened Hum Yoga + Meditation at London City Island nearly three years ago, Oriana Shepherd is now looking to expand her business to Goodluck Hope to keep up with demand.

“I initially came across the development while looking for accommodation for my son for university – it was just after Covid so a lot was happening and it just seemed like a really exciting area,” she said.

“I noticed, however, that there wasn’t a Yoga studio and so that’s where the idea came from.”

Oriana had spent much of the preceding 15 years teaching Yoga in Wales, a career she’d embarked on after more than a decade working for Virgin Atlantic.

After having children, she decided to pursue fitness alongside meditation breath work and aromatherapy closer to home, teaching and working in various roles including as a clinical therapist in palliative care.

“Having taught for so long and led Yoga retreats, opening Hum felt like a natural progression,” said Oriana.

“When I visited the island and saw the community here, there wasn’t access to these kinds of practices for residents on their doorstep and I thought it was maybe something I could offer.”

People adopt Yoga poses in Hum's London City Island studio — A class at Hum’s London City Island studio

escaping the hustle and bustle

“Hum is a space where people can come and escape the hustle and bustle of the city,” added Oriana.

“It’s an opportunity to explore something different in a really safe, relaxed, non-judgemental place.

“Whether you’re a complete beginner or a seasoned practitioner there’s something for everybody.

“We also do lots of retreats and socials too so it’s a place to meet like-minded individuals.”

Now full to capacity, the plan is to open a second site at Goodluck Hope overlooking the Thames.

“We’re hoping to have a bigger space there, which will give us the opportunity to host corporate wellness events,” said Oriana.

“We also offer Yoga teacher training and we’ll be able to offer more of that too.

“The intention has always been to enjoy the process and to support as may people as possible and opening the business has done just that.

“I love it and I feel very privileged to do this kind of work and to share it with so many people in London and from all over the world because people who live in these developments come from many different countries.

“We have such a wide, varied community and seeing people come together is really precious.”

key details: Hum Yoga + Meditation

Hum Yoga + Meditation offers a range of Yoga, Pilates and meditation classes.

New members can get 50% off their first month with unlimited classes for £54.

Standard membership costs £108 per month with several other options available.

Find out more about Hum 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

January 11, 2024January 11, 2024

Leamouth: How the SS Robin has returned to within 150m of her London birthplace

Historic ship’s move is the start of the latest chapter as Trinity Buoy Wharf prepares her for opening

The SS Robin, moored at her new home at Trinity Buoy Wharf – image Harry Dwyer

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So there she sits, resplendent in her red and black livery, atop a specially constructed pontoon and ready for the next chapter of her life.

The SS Robin has, after some 133 years, returned to within 150m of the shipyard where the iron plates of her hull were first riveted together.

She might be smaller in size than the Cutty Sark and HMS Belfast – but make no mistake – as historic ships in London go, she’s deserving of attention.

And following her most recent relocation from Royal Victoria Dock to Trinity Buoy Wharf, the story of the only surviving Victorian steam ship in existence is a big step closer to getting appropriate prominence.

It’s a move that’s been a long time coming.

Having spent a chunk of her retirement (1991-2008) at West India Quay opposite Canary Wharf, the Crossrail project saw her moved to Suffolk, with funding secured for restoration.

That saw her lifted from the water and mounted on a pontoon in 2010, with the intention of returning her to Docklands for public exhibition.

But plans to open her as a museum ship in Royal Victoria Dock faltered so, while she has been moored near Millennium Mills since 2011, she’s remained mostly closed to the public and inaccessible.

Nearly there – passing the cable car over the Thames – image Simon Richards

Schemes were mooted, plans made and locations suggested, but in more than a decade, Robin failed to find a permanent home.

A site was not forthcoming in either the Royals or West India Docks, amid the ironically choppy administrative waters of the bodies managing these vast human-made lakes.

Eric Reynolds is founding director of Urban Space Management, which runs Trinity Buoy Wharf.

He is a man who makes things happen. London is strewn with projects he’s had a hand in – Camden Lock Market, Gabriel’s Wharf on the South Bank, Greenwich Market and Merton Abbey Mills, to name a few.

After becoming involved with the SS Robin and growing frustration at the failure to open her to the public as promised, he’s now overseen the relocation of the vessel to the mouth of the River Lea, where she will have a permanent home among the growing historic fleet at Trinity Buoy Wharf.

“The original intention was to keep going with the project and leave Robin where she was in Royal Docks,” said Eric.

“But eventually I gave up – I just couldn’t get any of the organisations to get off the fence.

“So instead we turned to the Port Of London Authority to get a licence to drive two piles into the riverbed at Trinity Buoy Wharf.

Heading through the Thames Barrier on her way to Trinity Buoy Wharf – image Simon Richards

“The ship and her pontoon probably have a combined weight of about 600tonnes, which is not something I’d want to moor directly against the listed river wall as it would pose some risk.

“So, instead, it’s held between two giant ‘knitting needles’, which weigh 17 tonnes each. There’s a seven-metre rise and fall of the tide, so Robin will demonstrate that every day.”

That change in level also presents the last significant stumbling block to opening the vessel to the public.

A 40m gangway is set to be installed over the next couple of months that will go up and down with the level of the water, providing access at a suitable gradient.

Then, members of the public will be able to tour the vessel and view a wealth of information about her past and why she’s been preserved in this way.

“The driving idea is to make that information and Robin herself available to people who live here and know the area, as well as newcomers to it,” said Eric.

“There’s a population the size of Swindon scheduled to move in – a whole new town is being created.

“Shipping is still the major way by which the world trades with itself and London is here because it was driven by this tidal river and the trade that took place on it.

“Robin is the very last complete trading vessel of the period in the world with its original method of propulsion still in place.

“She was sold reasonably early in her life to the Spanish who operated her on a bit of a shoestring, so they didn’t do what nearly everyone else did, which was to take out the steam engine and put in an easily operated diesel.

“When you look at the ship and see the small size of the rudder and the huge propeller, you realise she’s relying on torque rather than revs.

Urban Space Management’s Eric Reynolds – image Jon Massey

“I really take my hat off to her crew – operating her in a crowded dock. With modern vessels you have bow thrusters and they can turn on a sixpence whatever the weather.

“With Robin you’d have had to spend 12 hours just getting steam up – their lives were so hard. We have a lot of material about her working life so we’ll be able to tell people all about it – the crew on her maiden voyage, for example.

“What we won’t do is commercialise her in any way – the whole point about this ship is she looks and feels like one that would carry coals from Newcastle and salted herring from Aberdeen.

“That should be respected and the entire idea is to create a free access open museum, along the lines of Blists Hill in Shropshire, where people can come to learn.”

Trinity Buoy Wharf plans to work with a cross section of organisations including schools, artists and musicians to explore and illuminate the vessel’s heritage as a jumping off point for study, not least in the fields of science and technology.

It also intends to tell the story of the ship’s construction at the yard of Mackenzie, MacAlpine And Company in Blackwall.

“That’s really quite amazing,” said Eric.

“With health and safety now, we could never imagine a 14-year-old boy throwing lumps of red hot metal up for someone else to catch in a shovel.

“The majority of the ship is original, and when we cut some of the metal and sent it away, the people said that you couldn’t get iron like this any more.

“It was probably made by some process that you wouldn’t be allowed to do now.

“For young people it’s a window into a lost world – an educational asset rather than a tourist attraction.”

In time, Trinity Buoy Wharf plans to bring all the historic vessels in its collection together with row barge Diana and the tugs Knocker White and Suncrest connected to the SS Robin, so visitors can tour all of them.

Watch this space for an opening date for the historic vessel.

Find out more about the SS Robin at Trinity Buoy Wharf 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

October 5, 2023October 5, 2023

Leamouth: How Uber Boat By Thames Clippers is cutting emissions of the river

CEO Sean Collins on the launch of hybrid vessel Earth Clipper and forthcoming cross-river services

Uber Boat By Thames Clippers CEO Sean Collins

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The passenger craft Sean Collins has been running on London’s great river have always had a futuristic edge to them.

Starting with three Hydrocats in 1999 – each able to carry 62 people from Greenland Pier in Rotherhithe into the City – the zippy little twin-hulled craft helped carve out an image of Docklands’ modernisation that boosted the area’s ongoing regeneration.

As Canary Wharf, east and south-east London have grown and developed – so too has the river bus service, now based at Trinity Buoy Wharf.

Today, the vessels in Uber Boat By Thames Clippers’ fleet are larger – long slender craft that hug the water as their engines blast them rapidly along.

While to the untrained eye, the sleek lines of the 220-passenger vessels might appear similar, don’t be fooled.

There’s change afoot – a journey that started with the arrival of Venus Clipper in 2019 as the service targeted green improvement.

The next step on that path, somewhat delayed by the pandemic, was the recent launch of Earth Clipper – a vessel that is aesthetically similar to the rest of the fleet, but is also completely different.

Earth Clipper runs purely on battery power in central London

Firstly, at 40 metres long, she can carry an extra 10 passengers.

But this is a mere tweak in comparison to the main difference – the way she is propelled. Earth Clipper uses a hybrid combination of electric power and biofuel power to slice through the brown waters of the Thames.

In central London, she uses only an electric motor with a biofuel engine kicking in out east to recharge her batteries and push water through her jets.

“Earth Clipper has been just under three years in the making.

“We started working on the specification in 2019,” said Sean, CEO of Uber Boat By Thames Clippers.

“We needed extra capacity, to be able to serve our routes with the expansion down to Barking – the increasing volumes that were there and those in the pipeline, such as Battersea.

“We’d just commissioned their predecessor – Venus Clipper – and we were already focused on reducing weight and therefore power in that vessel.

“That was already a 20% emissions improvement on the core boats in our fleet for the same carrying capacity.

The boat is similar to other vessels in the fleet but produces 90% less CO2 emissions

“With that one, we were asking how we could make the boat lighter while providing an enhanced level of comfort and all the facilities our passengers expected.

“We worked on that whole design with 123 Naval Architects and came up with Venus.

“From that, we decided we had to move it on to the next level.”

The drive to do that came from the company’s goal to cut carbon emissions by 50% by 2030 and to achieve net zero for the overall business by 2040.

Sean said: “Boats have to last 25-30 years – they haven’t got a similar shelf life to most other above ground vehicles.

“With that in mind, to reach our sustainability goals, we realised we had to have a significant step forward.

“We looked at the options, took a lot of data from the operating profile of Venus and used it to establish what might be achieved by using a hybrid model.

“From that, we realised we were not going to be able to achieve 100% battery power at high speeds, but that we could when going more slowly, as we do in central London.

“We formulated a specification and went to the shipyard that had built our previous five vessels and signed contracts to move on with building Earth Clipper.

She has a biofuel engine that charges her batteries and provides power outside the centre of London

“It does exactly what we wanted it to do.

“The model has resulted in a 90% reduction in our CO2 emissions and a 65% drop in oxides of nitrogen and sulphur.

“Those are figures based on measurements we’ve taken during actual running on the Thames.

“There are two more in build – Celestial and Mars – which will both have joined the fleet by spring 2024.

“We all have a duty of care and a duty to deliver on improving the environment.”

There are other benefits too.

Earth and its two sister ships hail from the Wight Shipyard Co on at East Cowes on the Isle Of Wight – a boost to the local economy with 65 people involved in their construction, including 14 apprentices.

There are also other operational benefits closer to home – welcome news as passenger numbers are already exceeding levels seen in 2019.

“Earth is significantly quieter and smoother on battery and that’s even the case when the engine is running,” said Sean.

“From a noise perspective, it’s a significant improvement and there’s absolutely no compromise at all from the customer’s point of view.

“The seating is also an upgrade in design – we’ve managed to make all 230 lighter, improving the efficiency of the vessel.

“We had to add nearly nine tonnes of additional weight with cabling, batteries and the motor to enable us to use this method of powering the boat.

“So that’s a process we’ve been through with every component.

“When stepping on Earth Clipper, we feel a sense of achievement.

“We’re really inspired by feedback from the public and also the crews that are working on the boat.

“They really love it – the technical advances and the sense of having taken that step forward.”

The use of battery-only power in central London equates to an extra 16.5% reduction in emissions in comparison to using the biofuel engine alone.

In the future, Sean said hydrogen would likely provide further cuts in emissions as electrical power was currently impractical as a way to deliver high speed services on the river, given the charging times needed.

Earth Clipper can carry 10 extra passengers

A Rotherhithe – Canary Wharf Crossing

However, Uber Boat By Thames Clippers is also pressing ahead with plans for an all-electric cross-river service for pedestrians and cyclists.

The aim is to have this up and running on the company’s Rotherhithe-to-Canary Wharf route by spring 2025 and then use it as a template for similar services elsewhere.

Sean said: “We’re committed to delivering that as part of our plans to invest £70million in new boats up to 2030.

“There are also opportunities between Silvertown and Charlton as well as Thamesmead and Barking in the east.

“We’re also aiming to add more stops including a pier that has planning permission at Blackwall Yard, which the developer will hopefully build over the next few years.

“One of the things that happened over the pandemic is that more people discovered the river and we’ve had three record days this year.

“Our figures for 2022 were higher than 2019 and Canary Wharf, for example, is thriving. The footfall at that pier is exceeding pre-Covid levels.”

Find out more about Uber Boat By Thames Clippers 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

May 31, 2023May 31, 2023

Leamouth: Why June 30 is the deadline for Trinity Buoy Wharf Drawing Prize entries

Annual award is appealing to artists to submit their work to be in with a chance of winning £10,000

Submissions are now open for the 2023 prize

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People have been drawing for a long time.

Hand stencils have been found in caves dating back around 64,000 years but the act of making marks on a surface has perhaps never been as widely celebrated as it is today thanks to innumerable social media time lapse videos.

Things were very different in 1994, however, when artist and academic Anita Taylor set about founding a drawing competition.

“I founded it when I was working in higher education at an art school in Gloucestershire because it was hard to teach drawing without showing students contemporary examples,” said Anita, who today is professor at and dean of Duncan Of Jordanstone College Of Art And Design at the University Of Dundee.

“What was then the Rexel Derwent Open Drawing Exhibition was one way of supporting artists who draw by giving them the opportunity to show their work.

“But it was also a great opportunity to give students the chance to see the work of artists who made drawings and were drawing now.

“Contemporary drawings were difficult to see other than in museums up to the 1990s, so the exhibition has grown from there.

“It has become very popular and there has been a very big submission.

“Through that we’ve built a lovely community of artists who want to test their work through the format of an exhibition.

Dean of Duncan Of Jordanstone College Of Art And Design at the University Of Dundee, Professor Anita Taylor

“It also works to further education in terms of being able to share drawings and discourse about them with schools, colleges, universities, researchers and the public, of course.”

The competition has been through several iterations since it was founded, including some 16 years as the Jerwood Drawing Prize with funding from the Jerwood Charitable Foundation.

Today the Trinity Buoy Wharf Drawing Prize has been in east London for the past six years – supported by Eric Reynolds and the team at Urban Space Management in Leamouth.

Attracting more than 3,000 submissions, it culminates in an exhibition of some 65 works, which starts off in east London before touring the country.

A panel of selectors is responsible for choosing the shortlisted entries and awarding four prizes – first and second place for £8,000 and £5,000 respectively, a student award of £2,000 and the Evelyn Williams Drawing Award of £10,000, which is given every other year.

There is also a separate submission and selection process for working drawings with a prize of £2,000.

All submissions from the UK need to reach the selectors by June 30, 2023.

“Drawing is hugely important to everybody as a vital means of communication and expression,” said Anita.

“It’s something that we all do, but it has become a very sophisticated language and something that enables us to see where we are in the world – to understand what it is to be human and to communicate effectively.

“It covers the whole range of languages, medium, purposes. We’re looking for drawings that are different in their form, intent, content and execution.

Anita founded the prize to provide a place to see drawings other than in museums

“It might be a performance drawing, a diagram, an expressive drawing – we don’t define what a drawing is, but we do ask people to consider what a drawing is.

“Then, it’s for the panel to decide what a good drawing is and find a good drawing they can agree on.

“It’s a very broad field and this is part of our discussion about what a drawing is today. That’s why we have a series of experts reflecting on this.

“We’ve had works entirely found, works that have been performance drawings and works that are beautifully executed – more conventional drawings.

“We’ve had fantastic things and amazing artists in the show.

“We’ve had phenomenally well-established artists, either at the beginning of their career and also later in their career.

“It’s a great thing where people feel open to test their own drawings.

“We see works by students, by various published artists and people who draw but may not be artists – engineers, for example.

“It’s the panel’s decision whether to include digital work, but if it’s original work, then some argue it shouldn’t be reproducible – but it really depends what its purpose is.

“David Hockney’s digital drawings are really amazing, for example, so we think we will see drawings that reflect that interest, but it will be down to the selectors to see which ones they want to include in the exhibition.”

The exhibition will be in Trinity Buoy Wharf from September 27, 2023

The 2023 panel making those decisions for the main prizes will be Laura Hoptman, executive director of The Drawing Center in New York, Dennis Scholl, collector, arts patron and president and CEO of Oolite Arts and British artist Barbara Walker.

It will be their deliberations, which result in the content of the exhibition, which is set to launch on September 27, 2023, at Trinity Buoy Wharf.

“I hope people who come and see it will be excited by drawing – that most humble of activities,” said Anita.

“It’s something that appeals to everyone. I hope they will see that drawing is really inclusive.

“It’s an extraordinary space that explores and reflects all sorts of different approaches to drawing, to see marks on paper, on the ground, on film, on tracing paper – testaments about being alive in the world today.

“I should like visitors to take from it that everyone can draw, and we’ll include everybody.

“We’ll also have a fantastic education pack and we’ll be encouraging schools and colleges – everybody – to get involved.

A panel will draw up a shortlist of entries, which will be exhibited

“The exhibition is set to finish on October 15 at Trinity Buoy Wharf before it goes on tour everywhere.

“It’s something people all over the country can really enjoy because drawing can help them deal with complex issues in a way that can engage others.

“That’s one of the beautiful things about it – it can take people on a journey without them feeling that it’s complicated.

“It’s perhaps less frightening and more inviting than other kinds of art.

“The space at Trinity Buoy Wharf is so welcoming, so open and so reflective.

“Anyone is welcome to submit work, but we would recommend that people are over 18.

“There’s no age limit as such – we don’t want anything that would stop work being submitted.

“So if you think it’s a drawing – a good one – and it’s a drawing you want to test in this kind of way, then it’s a fabulous opportunity to get your work seen by a really distinguished panel.”

Submit entires via this link.

Also coming up at Trinity Buoy Wharf is We Two Were Lovers – The Sea And I, a concert featuring singer Catherine Hooper and harpist Nicolette Chin.

The programme will include works by Haydn, Wagner, Dvorak and Coleridge-Taylor as well as readings of poetry by Emily Dickinson and Carol Ann Duffy.

The concert is set to take place on June 18 from 2pm-3.45pm with tickets costing £14.25.

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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

August 3, 2022August 3, 2022

Leamouth: Nashville Meets London returns with fresh acts and a new East End venue

Two-day festival of emerging USA and UK country talent arrives at Trinity Buoy Wharf, partly by boat

Shy Carter will headline the first day of Nashville Meets London

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Nashville Meets London (NML) is back in the East End with a fresh line-up of country talent from the UK and the USA in a new location.

Taking place at Trinity Buoy Wharf on August 24 and 25, 2022 (plus a river cruise on August 19), the festival promises cutting-edge sounds and a good ol’ country welcome.

“One of the key things we’ve proved is that NML seems to be a taste-maker for identifying artists, particularly from the US, who are about to break in the UK, Europe and beyond,” said Peter Conway who co-founded the festival.

“Russell Dickerson, for example, has gone on to become a major artist and Laura Elena is now massive in America and her profile is very wide in Europe too.

“For this year, we’ve got headliners in Shy Carter and the young Priscilla Block, both of whom have a huge fan base already.

“We always want to break a new artist too and we have Manny Blu playing exclusively for us both at the opening night party and in a major slot on the Wednesday.

“He’s really starting to make waves in America and all his socials are growing exponentially.

“On the UK side, we’re delighted to be offering The Wandering Hearts who are based in Hackney and are one of the top three country bands over here. They’re a stunning act and we are predicting great things for them.”

Shy – the main act on the first night of the festival on August 24 – is full of excitement when we connect on zoom between London and Tennessee.

He’s primarily worked as a songwriter, having been discovered by Nelly and his manager Courtney Benson, before going on to create a string of hits with other artists.

Now the 37-year-old is making a name in his own right on the country scene and can’t wait to take the stage in London.

He said: “I put so much time into being in studios, it’s a breath of fresh air to be able to get in front of an audience and see all these different people who come out and really appreciate the music.

“I really engage with the people when I do my shows – I walk into the crowd, get a handshake and make up a song with that person’s name.

“I do a lot of freestyle, it’s real free and a lot of fun, and anything can happen. I sing some hits, some new songs, and it’s really heartfelt.

“Something about being on stage just makes me feel good – if there are people out there, it makes me feel even better.

“If they’re moving to something you’ve created, it’s one of the greatest experiences and one of the best feelings I’ve had in this life. It’s party time and it also helps me as a songwriter.”

Shy has worked with a plethora of artists, including co-writing Someday, a No. 1 hit for Rob Thomas of Matchbox 20, and songs for the likes of Keith Urban, Jamie Fox, Jason Derulo, Billy Currington and Charlie Puth.

Born and raised in Tennessee he was “always around music” at home and in church, learning his first chords as a child and developing a love for r’n’b before recording his first song aged 16 at a home set-up in a friend’s apartment.

He said: “I was addicted to the process – hearing my voice on a CD. From then on I continued making music all the time and tried to find a way to make music my career.

“Now it’s a real blessing to put my own soul and my own flavours into the music. It’s good to write for others, but this lets me be a little bit more myself.

“I don’t think it really matters, but I’d say my music is country because the songs are no different to the ones I’ve written for artists in that genre.

“As a person of colour, my songs might sound a little blacker – but that’s what I’m trying to do, to bring country music to people who don’t normally listen to it. At its heart, it’s storytelling.

“Being on stage makes me a better writer because it helps me to see what songs people connect with most.”

Day tickets for Nashville Meets London cost £34 and can be booked here.

A selection of VIP packages are also available for Nashville Meets London. The Festival VIP Ticket costs £150 and includes entry for the festival on both days at Trinity Buoy Wharf, access to the VIP backstage area and the VIP bar from 2pm and access to the meet and greet area.

The Premium Nash Pass costs £200 and includes all of the above, plus a ticket on the NML River Cruise and entry to the invitation-only Opening Night Party at Pizza Express Holborn on August 22, which will feature performances by Juna N Joey, Kaitlyn Baker, Robbie Cavanagh and special guests.

Ticket holders for Nashville Meets London can travel directly to the festival via Uber Boat By Thames Clippers as a special request stop at Trinity Buoy Wharf has been arranged. Journeys on the river bus service must be booked in advance to take advantage of this offer.

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Nashville Meest London's DJ Hish — Nashville Meets London’s DJ Hish

THE LINE-UP – NASHVILLE MEETS LONDON

NML Country Music River Cruise

Aug 19, doors 6.45pm, £45-£560

Billed as a “voyage down England’s longest river” this trip along the Thames sets off from Bankside Pier for an evening of music hosted by Absolute Radio Country presenter Matt Spracklen. Expect performances by Kyle Daniel, Vicki Manser and a set by DJ Hish (pictured).

Nashville Meets London Day One

Aug 24, doors 4pm, from £34

The first day of the festival at Trinity Buoy Wharf will see performances from Sarah Darling, Manny Blu (pictured), Ruthie Collins, Arbor North and Matt Hodges. Shy Carter will headline the first night, with music selected by DJ Hish between sets.

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Priscilla Block is set to headline Day Two

Nashville Meets London Day Two

Aug 25, doors 4pm, from £34

The second day of the festival, now enjoying a renaissance following a two-year break, will be headlined by Priscilla Block (pictured) with artists Kyle Daniel, Candi Carpenter, The Wandering Hearts, Tebey and Essex County also taking to the stage in east London.

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Peter Conway co-founded Nashville Meets London

REFRESHING THE FESTIVAL

Cut a slice through Docklands culture over the last 40-plus years and you’ll find Peter Conway woven through the rings of the tree.

His CV includes stints at the Half Moon Theatre, a decade as principal arts officer at Tower Hamlets Council before going on to arrange music events at Cabot Hall – a former venue in Canary Wharf in a space now occupied by Boisdale.

After that was closed for redevelopment, he went on to run Blackheath Halls on the other side of the Thames, before returning to Canary Wharf in 2000 to programme outdoor music events on the estate, creating the Canary Wharf Jazz Festival and more recently Nashville Meets London in 2016 – relocated to Trinity Buoy Wharf for 2022.

“It was a moment of serendipity in Nashville in 2015,” said Peter.

“I bumped into Jeff Walker of AristoMedia and from that meeting came the idea for the festival – an event to promote the best of emerging country music talent in both Nashville and the UK.”

Sadly, Jeff died suddenly later that year, but his daughter Christy Walker Watkins and son-in-law Matt Watkins, who worked with him, joined forces with Peter to make their vision for the festival a reality.

After four years in Canary Wharf’s Canada Square and a two year break due to Covid, NML is back at a new venue in east London.

“This is a kind of new beginning for the festival – we’ve got a great person supporting us in terms of Eric Reynolds at Trinity Buoy Wharf,” said Peter.

“We’re using the Chainstore as the main venue and the building it’s attached to as a VIP area and artists’ dressing rooms.

“Then you have the wonderful terrace outside that looks over the Thames and the Lea where we’ll be having food and bars.

“Each day there will be shows running from 5pm to 11pm with non-stop music – we want people to come down and experience the joy of country music, get converted and help us on our journey to build and develop this festival into a much bigger event over the coming years.

“I’m very keen to foster a sense of country community and to make this a real East End event.”

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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

March 16, 2022

Leamouth: Typewriter artist James Cook set for Trinity Buoy Wharf exhibition

Workshops will also be on offer for those who want to have a go at typing out their own pieces

James Cook will be showing his artwork at Trinity Buoy Wharf

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When I was a young child, my parents gave me an old typewriter to play with. I loved hitting the keys, hearing that distinctive, hypnotic clacking sound, twisting the knob that made the roller revolve.

But I couldn’t really comprehend what it was for. Even though this was the 1980s, by the time I came of age to make marks on paper, computer keyboards had already replaced the old mechanical machines with their inky ribbons and staccato rhythms. Fun for a kid – a relic of a bygone age, perhaps – but nothing more.

It’s fortunate James Cook didn’t have that experience.

While studying A-Level art in 2014, he developed an interest in inventive ways to make marks, drawn to David Hockney’s iPad paintings.

“Then I came across Paul Smith, who had used typewriters,” said James. “What really caught my attention was his story.

“Born in 1921, he suffered with cerebral palsy his whole life. At the age of 11, his parents gave him a typewriter because he couldn’t hold a pencil.

“But, instead of writing, he ended up creating drawings, which was his passion. He only learnt to speak and walk as an adult, but at the age of 11 he was already creating these amazing pictures – drawings of the Mona Lisa and it fascinated me that it was even possible to do such a thing.

“Immediately after I had read about him, I started trawling around charity shops trying to find a typewriter – at first without much success.

“Then an elderly couple in one of the shops overheard that I was looking for a typewriter and told me that they had one belonging to the man’s late mother.

“It had been sitting in the attic for about 40 years, not being used, and they suggested that I could come round and collect it.”

After a few squirts of WD40, James got the mid 1950s Oliver Courier going and began to experiment.

“I was lucky I picked that typewriter up and that I didn’t give up straight away,” he said. “As time has gone on, I’ve discovered that there are some models that just don’t work for this kind of work.

“But what I had was a very expensive, very mechanically precise machine. If this hadn’t been the case I might not have stuck with it.”

Perseverance paid off however and James now makes his living generating work on his collection of 40 typewriters, painstakingly using them to tap out artwork, either from life or photographs.

It’s exacting work, with drawings typically taking between a week and a month to complete.

“Usually the typewriters have 44 keys, so I have those parameters to work within and choosing the characters to use is one of the most interesting parts of making these drawings,” said James.

“I’ve been doing this for about seven years now, mostly part-time, and more recently full-time, and I’ve learnt by trial and error which particular character works.

“If I’m drawing a portrait, and I need to recreate someone’s skin complexion, most people want to be seen in the best light, so even skin tones require a character that has a large surface area, like the ‘@’ symbol.

“That’s also good for shading, which can be achieved by hitting the key more softly.

“If someone has dimples or freckles, then I might use some asterisks, because it’s a much sharper mark, whereas the underscore is a perfect shape for drawing horizontal lines in an architectural drawing, like the bottom of a window sill, or doing brickwork.

“Achieving curves is very difficult, especially if you’re working across multiple sheets, because they all have to line up.

“Typewriters inherently want to go from left to right so they’re great for straight lines, but not so good for verticals and curves.

“So what I’m doing is using my left hand to ever so slightly twist the paragraph lever by a minuscule amount while I’m typing to create a curve, like the roof of The O2, for example.

“I can’t think of any other way of drawing that requires you to use both hands in this way. Your right hand is on the keys and your left hand is responsible for making sure you stamp that mark on a very precise point.

“Once it’s been made that’s it, there’s no way of undoing it – I won’t use Tippex so mistakes become part of the drawing.

Every drawing is made by painstakingly typing to make marks

From April 1-10, the largest ever exhibition of James’ work ever gathered together is set to be held at Trinity Buoy Wharf, with many of the pieces created at the east London location in Leamouth. Entry is free.

“Visitors will see the biggest collection of my work to date,” said James.

“It’s mostly pieces from London locations, usually drawn on site with views of places like Greenwich Park, the Thames Path and Trinity Buoy Wharf itself.

“What’s also important for the work is to add a second layer of information, so the drawings are not just about piecing together various characters, they also contain concealed messages or hidden lines of text.

“I’ve often done that more recently when I’ve been working on location and I’ve spotted something, or when a thought pops into my head, especially if it’s the middle of winter.

“I did some of the drawings in January and it was pretty cold outside, so a lot of the messages are me complaining how cold it was.”

James draws many of his pieces on location

Every weekday during the exhibition, James will be hosting free workshops for those who’d like to try creating their own typewriter art.

He said: “When people look at my art, usually it’s not enough, they want to know how it’s made.

“The idea is these groups of about five will get to sit in front of a typewriter and have a go.

“It won’t be creating finished masterpieces, but hopefully we’ll have some fun and it will be a start.

“They can bring along pictures to inspire their typing or I can provide them for reference.”

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January 19, 2022

Leamouth: How Lightship95 offers musicians high quality recording riverside

Trinity Buoy Wharf-based studio on a boat is all set up to capture any sound you can make

Giles Barrett, left, and Dave Holmes of Lightship95 – image Matt Grayson

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There’s a moment during my interview with Giles Barrett and Dave Holmes when the waters of the Thames sweep into the mouth of the Lea and lift the entire venue we’re sat in, gently off the riverbed.

But it’s not the subtle undulation of the liquid beneath that these two are primarily interested in – they spend their days tuning into and capturing waves of sound created by a diverse stream of musicians flowing through the recording studio they run.

Now moored at Trinity Buoy Wharf, Lightship95 was originally built as a floating lighthouse, part of a fleet of similarly sturdy vessels capable of holding position in all weathers.

Owner Ben Phillips, a producer and engineer, bought her after she’d left active service and conceived and undertook a two-year project to turn her into a recording studio – an alternative to the pressures and uncertainty of building one on land.

He ran the business until 2017, when Soup Studios relocated to the vessel from Cable Street in Limehouse.

In 2021 Soup moved back onto dry land, but Giles and Dave – two of its crew members – opted to remain aboard, launching their own partnership under the name Lightship95 and continuing to record.

“I’d been running small studios in London since 2005, when I graduated, but the weird coincidence for me about this ship is that I could see it from where I grew up in Kent,” said Giles who takes the role of Lightship95’s studio manager.

“It was working as a lightship on the Goodwin Sands and I could see it on the horizon pretty much every day, so it’s quite strange to be on it now.

“The reason I’m here now is tied in with the reason that Ben decided to build a studio on the ship in the first place.

“I’ve built and then been kicked out by gentrification very quickly from a number of studios in London over the last 16 years.

“That’s what happens – artists go in, they build something, it’s a nice building and then the landlords realise it’s time to raise the rent.

“That’s difficult when you’re trying to run a studio.

“Soup wasn’t kicked out of our last studios in Cable Street, but we never had any security there, because there was a yearly rolling lease, so you’re terrified of the landlords the whole time.

“The really good thing about Trinity Buoy Wharf is that it has written into its lease an obligation to make a certain section of its income from cultural activities and that’s a rare thing in London.”

Lightship95 moored at Trinity Buoy Wharf – image Matt Grayson

Dave is Lightship95’s senior engineer and didn’t see the vessel growing up, on account of doing that in New Zealand.

He said: “I came over in 2011 after a couple of years backpacking in Europe and South-East Asia and thought I would have a look around and see what was happening on the other side of the world.

“Initially I was freelancing, doing bits and pieces for about a year, mostly at the Royal College Of Music, before a mutual contact put me in touch with Giles in 2015.

“Then I started hanging around at Soup, bringing my microphones and other equipment over from New Zealand bit by bit.

“We worked hard to grow the studio and the client base and then we found out the ship was available. It was a bit of a risk, but our clients followed us, so it paid off.

“The pandemic has been different to normal, obviously, but it has given us the opportunity to refocus and get this business the way we’d imagined it.”

The studio’s 1980s tape recorder – image Matt Grayson

With a control room contained inside the ship’s former diesel tank, its live space occupying the former engine room and a vocal booth nestled between the two, Lightship95 offers a wealth of flexible facilities and expertise to its clients.

“The lion’s share of what we do, apart from making good coffee, is to allow people to forget what is normally invading their conscious minds and come and do what they’ve booked the place to do,” said Dave.

“It’s about looking after our relationships with our clients, because we want them to come back.

“It’s our job to understand what they’re trying to do, what their set-up is so we can arrange the live space in the best possible way.

“There are lots of little things – like the sounds of the instruments in the room, the sight lines and the monitoring so that when we take them into the control room and play it back people say: ‘That’s what we’re looking for’.

“There’s a huge amount of experience and knowledge which is hard to break down, that goes into building what that sound is.

“But I quite like the idea that our clients aren’t really aware of that – we want them to focus on what they’re doing and not be worried about the technical stuff.”

The live room at Lightship95 – image Matt Grayson

Giles added: “We make records in lots of different ways and one of the things that we do in a studio of this size is to encourage whole bands to come and record together.

“Lots of records get made in a layered, computerised way – one instrument at a time – and that’s fine, but it’s great to encourage musicians to come and play together to get that interaction, that live feeling.”

Alongside different recording set-ups, Lightship95 is equipped with a bewildering array of tech, both digital and analogue.

Giles said: “From a technological point of view, this is the best time to be making music. We’ve gone through the time when everyone chucked out their analogue gear, brought in the digital stuff and realised that a lot of it wasn’t good enough

“But now we can make a record on just a MacMini and challenge anyone to tell whether it went through analogue or digital.

“Then we still have all the analogue gear which we can use as creative inspiration and with total flexibility because it can be integrated into a digital environment.”

Dave added: “Some of our microphones are 80 years old and we have a tape machine from the 1980s, which was the pinnacle of analogue.

“The mixing board is analogue too – the last model before the company went totally digital.

“The beauty of digital is that it’s such a clean result – you might want a 1960s-style guitar and you can get an instrument from that era, use a microphone that will give it that colour and then, digital capture of that will be perfect.

“It’s also the flexibility of having so many inputs and outputs that means you’re never short of workspace – the computer power is ridiculous.”

The studio offers both digital and analogue tech – image Matt Grayson

While the extensive soundproofing prevents anything much being heard outside the boat itself, Lightship95 has hosted all sorts of clients – many on the modern jazz scene – as well as the likes of Ghostpoet, Mike Skinner and Roots Manuva.

“It’s a really exciting time to have a studio business,” said Dave.

“We want the place to be used – we’ve been quite crafty in that we have all these things we like to use, but it’s still affordable, and that’s important.

“This is our life – as we’ve grown, our clients have grown at the same time and it’s been really exciting to see the successes of people we’ve been working with for for many years.”

Lightship95 costs £480 per day to hire with discounts for block bookings. Rates include use of instruments, equipment and an engineer.

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