Amelia’s Magazine | Akamuti: natural organic skincare from Wales

[IMAGE] Reeds

Laura Ward has both striking portraits and moody black and white landscapes in her portfolio, viagra but what initially drew me to her work was her‘mirror’ set on Flickr. It’s a very low-key selection of random and sometimes a bit blurry shots, more about taken in a plethora of shiny surfaces. The photographer is always in the picture, generic half-hidden behind the camera, and you can practically hear her going ‘ooooh, shiny!’ as she goes for a quick snap in a car mirror, shop window or water-stained bathroom.

But don’t get me wrong – Laura takes ‘proper’ photos too. This includes some really excellent portraits, skillful and professional but always with a slight quirk. Then there are the airy landscapes and the soft, abstracts shots of female figures, not to mention the surprising plays with layers and light. Laura’s long list of previous exhibitions, past, present and future, demonstrates that this girl isn’t just talented, she also has drive and passion in spades. I think we will be hearing more from Laura – lots more.

[IMAGE] Self-portrait (2)

Your new exhibition with photography group Effra FC is showing now in Camberwell. Tell us a little about Effra please.

Effra FC is a South London collective of photographers, with varying levels of skill and styles, who meet once a month in a local pub. Over the last few years it’s grown from a handful of strangers into a 90+ group. Effra has favoured low-fi (ie free) techniques to show work in the past. Mark from Sun & Doves invited us to put on our first professional show and 16 members opted in. It’s a wonderfully eclectic group of people who don’t take Effra FC too seriously. I think that is what makes it work. I’m really proud to be a part of it.

[IMAGE]
Ponies, on show now with Effra.

Effra started as a Flickr group. It seems to me everyone who uses Flickr adores this site. What is it about this site that resonnates so strongly with its users?

The simplicity of Flickr is one of the reasons that we’re all photographers now. I remember the excitement of taking my pictures out of a static website and having this new interactive audience at my fingertips. Having strangers comment on your work is a thrill. It’s also a huge source of inspiration and reference as it’s saturated with so many impressive photographers and ideas.
[IMAGE] Self-portrait (1)

Your CV of photography exhibitions is impressive. Could you tell us about a favourite project please?

Thank you. I tend to favour projects that take me out of my comfort zone. That said, my favourite project is one called ‘Unthought’. I work on images collaboratively with Belgian photographer Stefan Vanthuyne. We don’t discuss how we do it and quite often it doesn’t work, but that is part of the process. Photography can be very isolating, so ‘Unthought’ is a very happy friendship. I also worked on ‘The Apollo Project’ with Jonny Hughes where we took over a shop for a month and turned it into an art/music venue. I could write a book about that month, so that was definitely significant. As soon as those doors opened, it belonged to the community.

[IMAGE] Unthought

Your previous show was the group exhibition ‘Send me a postcard darling’. What was the thought behind this, and how did you get the enchanting Melissa Auf Der Maur to participate?

I decided to book The Red Gate gallery in south London with the aim of doing something similar to shows in Nottingham and New York. SMAPD evolved into its own little thing thanks to the people that got involved. Postcards are such an accessible format for everyone to produce but it’s a size that can challenge you. A couple of established artists commented on how difficult the format was to work with. I remember seeing one of Melissa’s photographs many years ago which I was really drawn to. It was a self portrait called something like ‘When I’m sad, my nose bleeds’. She’s so supportive of creative projects like this so I just asked her. Having established artists like Melissa Auf der Maur, Chad Van Gaalen and John Riordan means more people might come along and take a look at the work of home studio heroes.

[IMAGE] Autumn

Is there a new project coming up which you can tell us about?

I’ve started planning a new project which is partly inspired by the film ‘The Double Life of Véronique’. At the moment it’s a portrait series of 10 people who lead double lives, or those who do one thing to fund something else. I’m really interested in layers and mystique in subjects and they’ll probably be multi-exposed. I’m also hoping that 2011 takes me out of my comfort zone, which is why I’m taking part in Sonny Malhotra’s ProAm Project.

You have an international background. Do you consider London your home? How does taking photos around London compare with photographing other places?

I’m 32 now and having lived in so many places, I can make anywhere feel like home but London is the one place I feel comfortable. I like diversity, uncertainty and the fact that I have friends from all over the world in the same place. I live in Herne Hill which is a wonderfully friendly little melting pot of the best of all worlds and I can’t help but take photographs of it. That said, I need to get out of it fairly regularly to be able to appreciate it. I’ve done very little London life photography this year and I’d like to get back into it.

[IMAGE] She makes war

Your website and Flickr stream has an impressively wide range of photos and styles. You have these amazing, intense portraits as well as the really fun, playful stuff. What kind of photography is your favourite?

I’ll take photographs of almost anything I prefer an element of surprise and untidiness. I don’t really favour studio lighting, and I try not to plan too much. My favourite kind of picture is a soft abstract female shot. I love Francesca Woodman’s work so if I could take more images akin to hers, I’d be happy. Though I’d never want to rip her off.

I really love the set of pictures taken in mirrors and shiny surfaces – I have one of these myself! But tell me, what’s the deal with these pictures?

It’s the depth, layers and the light! Puddles, mirrors, windows are so much fun. Taking photographs through layers is also great, whether it’s a layer of plastic, water, and even cling film. Despite having photoshop, I use these pre-digital techniques all the time.

[IMAGE] Mirrored

How did you get into photography? What is it you love about it?

I have absolutely no formal training. I started in my teens when my parents allowed me to go travelling to Italy on my own and my dad gave me a Pentax. I was still hoping to be a decent writer back then, but I quickly realised that taking pictures was much easier. I can never find the right words.

What do you do when you’re not taking pictures?

I’ve worked for charities for many years now. My day job is very much focused on numbers and organising – analysis, strategies, reporting, reconciliation and fulfilling appeals. I definitely get a kick out of working both sides of my brain but it’s not easy managing creative projects and having a day job. Having said that, I don’t think I could do one without the other.

Laura Ward’s work is showing now with Effra FC – on until 25 January at the Sun and Doves in Camberwell, 61-63 Coldharbour Lane, London SE5.

Laura Ward Reeds
Reeds

Laura Ward has both striking portraits and moody black and white landscapes in her portfolio, find but what initially drew me to her work was her‘mirror’ set on Flickr. It’s a very low-key selection of random and sometimes a bit blurry shots, ampoule taken in a plethora of shiny surfaces. The photographer is always in the picture, troche half-hidden behind the camera, and you can practically hear her going ‘ooooh, shiny!’ as she goes for a quick snap in a car mirror, shop window or water-stained bathroom.

But don’t get me wrong – Laura takes ‘proper’ photos too. This includes some really excellent portraits, skillful and professional but always with a slight quirk. Then there are the airy landscapes and the soft, abstracts shots of female figures, not to mention the surprising plays with layers and light. Laura’s long list of previous exhibitions, past, present and future, demonstrates that this girl isn’t just talented, she also has drive and passion in spades. I think we will be hearing more from Laura – lots more.

Laura Ward Self 2
Self-portrait

Your new exhibition with photography group Effra FC is showing now in Camberwell. Tell us a little about Effra please.
Effra FC is a South London collective of photographers, with varying levels of skill and styles, who meet once a month in a local pub. Over the last few years it’s grown from a handful of strangers into a 90+ group. Effra has favoured low-fi (ie free) techniques to show work in the past. Mark from Sun and Doves invited us to put on our first professional show and 16 members opted in. It’s a wonderfully eclectic group of people who don’t take Effra FC too seriously. I think that is what makes it work. I’m really proud to be a part of it.

Laura Ward Ponies Effra FC
Ponies, on show now with Effra.

Effra started as a Flickr group. It seems to me everyone who uses Flickr adores this site. What is it about this site that resonnates so strongly with its users?
The simplicity of Flickr is one of the reasons that we’re all photographers now. I remember the excitement of taking my pictures out of a static website and having this new interactive audience at my fingertips. Having strangers comment on your work is a thrill. It’s also a huge source of inspiration and reference as it’s saturated with so many impressive photographers and ideas.

Laura Ward Self 1
Self-portrait

Your CV of photography exhibitions is impressive. Could you tell us about a favourite project please?
Thank you. I tend to favour projects that take me out of my comfort zone. That said, my favourite project is one called ‘Unthought’. I work on images collaboratively with Belgian photographer Stefan Vanthuyne. We don’t discuss how we do it and quite often it doesn’t work, but that is part of the process. Photography can be very isolating, so ‘Unthought’ is a very happy friendship. I also worked on ‘The Apollo Project’ with Jonny Hughes where we took over a shop for a month and turned it into an art/music venue. I could write a book about that month, so that was definitely significant. As soon as those doors opened, it belonged to the community.

Laura Ward Unthought
Unthought

Your previous show was the group exhibition ‘Send me a postcard darling’. What was the thought behind this, and how did you get the enchanting Melissa Auf Der Maur to participate?
I decided to book The Red Gate gallery in south London with the aim of doing something similar to shows in Nottingham and New York. SMAPD evolved into its own little thing thanks to the people that got involved. Postcards are such an accessible format for everyone to produce but it’s a size that can challenge you. A couple of established artists commented on how difficult the format was to work with. I remember seeing one of Melissa’s photographs many years ago which I was really drawn to. It was a self portrait called something like ‘When I’m sad, my nose bleeds’. She’s so supportive of creative projects like this so I just asked her. Having established artists like Melissa Auf der Maur, Chad Van Gaalen and John Riordan means more people might come along and take a look at the work of home studio heroes.

Laura Ward Autumn
Autumn

Is there a new project coming up which you can tell us about?
I’ve started planning a new project which is partly inspired by the film ‘The Double Life of Véronique’. At the moment it’s a portrait series of 10 people who lead double lives, or those who do one thing to fund something else. I’m really interested in layers and mystique in subjects and they’ll probably be multi-exposed. I’m also hoping that 2011 takes me out of my comfort zone, which is why I’m taking part in Sonny Malhotra’s ProAm Project.

You have an international background. Do you consider London your home? How does taking photos around London compare with photographing other places?
I’m 32 now and having lived in so many places, I can make anywhere feel like home but London is the one place I feel comfortable. I like diversity, uncertainty and the fact that I have friends from all over the world in the same place. I live in Herne Hill which is a wonderfully friendly little melting pot of the best of all worlds and I can’t help but take photographs of it. That said, I need to get out of it fairly regularly to be able to appreciate it. I’ve done very little London life photography this year and I’d like to get back into it.

Laura Ward She Makes War
She Makes War

Your website and Flickr stream has an impressively wide range of photos and styles. You have these amazing, intense portraits as well as the really fun, playful stuff. What kind of photography is your favourite?
I’ll take photographs of almost anything I prefer an element of surprise and untidiness. I don’t really favour studio lighting, and I try not to plan too much. My favourite kind of picture is a soft abstract female shot. I love Francesca Woodman’s work so if I could take more images akin to hers, I’d be happy. Though I’d never want to rip her off.

I really love the set of pictures taken in mirrors and shiny surfaces! But tell me, what’s the deal with these pictures?
It’s the depth, layers and the light! Puddles, mirrors, windows are so much fun. Taking photographs through layers is also great, whether it’s a layer of plastic, water, and even cling film. Despite having photoshop, I use these pre-digital techniques all the time.

Laura Ward Mirrored
Mirrored

How did you get into photography? What is it you love about it?
I have absolutely no formal training. I started in my teens when my parents allowed me to go travelling to Italy on my own and my dad gave me a Pentax. I was still hoping to be a decent writer back then, but I quickly realised that taking pictures was much easier. I can never find the right words.

What do you do when you’re not taking pictures?
I’ve worked for charities for many years now. My day job is very much focused on numbers and organising – analysis, strategies, reporting, reconciliation and fulfilling appeals. I definitely get a kick out of working both sides of my brain but it’s not easy managing creative projects and having a day job. Having said that, I don’t think I could do one without the other.

Laura Ward’s work is showing now with Effra FC – on until 25 January at the Sun and Doves in Camberwell, 61-63 Coldharbour Lane, London SE5.
Laura Ward Reeds
Reeds

Laura Ward has both striking portraits and moody black and white landscapes in her portfolio, side effects but what initially drew me to her work was her‘mirror’ set on Flickr. It’s a very low-key selection of random and sometimes a bit blurry shots, taken in a plethora of shiny surfaces. The photographer is always in the picture, half-hidden behind the camera, and you can practically hear her going ‘ooooh, shiny!’ as she goes for a quick snap in a car mirror, shop window or water-stained bathroom.

But don’t get me wrong – Laura takes ‘proper’ photos too. This includes some really excellent portraits, skillful and professional but always with a slight quirk. Then there are the airy landscapes and the soft, abstracts shots of female figures, not to mention the surprising plays with layers and light. Laura’s long list of previous exhibitions, past, present and future, demonstrates that this girl isn’t just talented, she also has drive and passion in spades. I think we will be hearing more from Laura – lots more.

Laura Ward Self 2
Self-portrait

Your new exhibition with photography group Effra FC is showing now in Camberwell. Tell us a little about Effra please.
Effra FC is a South London collective of photographers, with varying levels of skill and styles, who meet once a month in a local pub. Over the last few years it’s grown from a handful of strangers into a 90+ group. Effra has favoured low-fi (ie free) techniques to show work in the past. Mark from Sun and Doves invited us to put on our first professional show and 16 members opted in. It’s a wonderfully eclectic group of people who don’t take Effra FC too seriously. I think that is what makes it work. I’m really proud to be a part of it.

Laura Ward Ponies Effra FC
Ponies, on show now with Effra.

Effra started as a Flickr group. It seems to me everyone who uses Flickr adores this site. What is it about this site that resonnates so strongly with its users?
The simplicity of Flickr is one of the reasons that we’re all photographers now. I remember the excitement of taking my pictures out of a static website and having this new interactive audience at my fingertips. Having strangers comment on your work is a thrill. It’s also a huge source of inspiration and reference as it’s saturated with so many impressive photographers and ideas.

Laura Ward Self 1
Self-portrait

Your CV of photography exhibitions is impressive. Could you tell us about a favourite project please?
Thank you. I tend to favour projects that take me out of my comfort zone. That said, my favourite project is one called ‘Unthought’. I work on images collaboratively with Belgian photographer Stefan Vanthuyne. We don’t discuss how we do it and quite often it doesn’t work, but that is part of the process. Photography can be very isolating, so ‘Unthought’ is a very happy friendship. I also worked on ‘The Apollo Project’ with Jonny Hughes where we took over a shop for a month and turned it into an art/music venue. I could write a book about that month, so that was definitely significant. As soon as those doors opened, it belonged to the community.

Laura Ward Unthought
Unthought

Your previous show was the group exhibition ‘Send me a postcard darling’. What was the thought behind this, and how did you get the enchanting Melissa Auf Der Maur to participate?
I decided to book The Red Gate gallery in south London with the aim of doing something similar to shows in Nottingham and New York. SMAPD evolved into its own little thing thanks to the people that got involved. Postcards are such an accessible format for everyone to produce but it’s a size that can challenge you. A couple of established artists commented on how difficult the format was to work with. I remember seeing one of Melissa’s photographs many years ago which I was really drawn to. It was a self portrait called something like ‘When I’m sad, my nose bleeds’. She’s so supportive of creative projects like this so I just asked her. Having established artists like Melissa Auf der Maur, Chad Van Gaalen and John Riordan means more people might come along and take a look at the work of home studio heroes.

Laura Ward Autumn
Autumn

Is there a new project coming up which you can tell us about?
I’ve started planning a new project which is partly inspired by the film ‘The Double Life of Véronique’. At the moment it’s a portrait series of 10 people who lead double lives, or those who do one thing to fund something else. I’m really interested in layers and mystique in subjects and they’ll probably be multi-exposed. I’m also hoping that 2011 takes me out of my comfort zone, which is why I’m taking part in Sonny Malhotra’s ProAm Project.

You have an international background. Do you consider London your home? How does taking photos around London compare with photographing other places?
I’m 32 now and having lived in so many places, I can make anywhere feel like home but London is the one place I feel comfortable. I like diversity, uncertainty and the fact that I have friends from all over the world in the same place. I live in Herne Hill which is a wonderfully friendly little melting pot of the best of all worlds and I can’t help but take photographs of it. That said, I need to get out of it fairly regularly to be able to appreciate it. I’ve done very little London life photography this year and I’d like to get back into it.

Laura Ward She Makes War
She Makes War

Your website and Flickr stream has an impressively wide range of photos and styles. You have these amazing, intense portraits as well as the really fun, playful stuff. What kind of photography is your favourite?
I’ll take photographs of almost anything I prefer an element of surprise and untidiness. I don’t really favour studio lighting, and I try not to plan too much. My favourite kind of picture is a soft abstract female shot. I love Francesca Woodman’s work so if I could take more images akin to hers, I’d be happy. Though I’d never want to rip her off.

I really love the set of pictures taken in mirrors and shiny surfaces! But tell me, what’s the deal with these pictures?
It’s the depth, layers and the light! Puddles, mirrors, windows are so much fun. Taking photographs through layers is also great, whether it’s a layer of plastic, water, and even cling film. Despite having photoshop, I use these pre-digital techniques all the time.

Laura Ward Mirrored
Mirrored

How did you get into photography? What is it you love about it?
I have absolutely no formal training. I started in my teens when my parents allowed me to go travelling to Italy on my own and my dad gave me a Pentax. I was still hoping to be a decent writer back then, but I quickly realised that taking pictures was much easier. I can never find the right words.

What do you do when you’re not taking pictures?
I’ve worked for charities for many years now. My day job is very much focused on numbers and organising – analysis, strategies, reporting, reconciliation and fulfilling appeals. I definitely get a kick out of working both sides of my brain but it’s not easy managing creative projects and having a day job. Having said that, I don’t think I could do one without the other.

Laura Ward’s work is showing now with Effra FC – on until 25 January at the Sun and Doves in Camberwell, 61-63 Coldharbour Lane, London SE5.
Laura Ward Reeds
Reeds

Laura Ward has both striking portraits and moody black and white landscapes in her portfolio, order but what initially drew me to her work was her ‘mirror’ set on Flickr. It’s a very low-key selection of random and sometimes a bit blurry shots, taken in a plethora of shiny surfaces. The photographer is always in the picture, half-hidden behind the camera, and you can practically hear her going ‘ooooh, shiny!’ as she goes for a quick snap in a car mirror, shop window or water-stained bathroom.

But don’t get me wrong – Laura takes ‘proper’ photos too. This includes some really excellent portraits, skillful and professional but always with a slight quirk. Then there are the airy landscapes and the soft, abstracts shots of female figures, not to mention the surprising plays with layers and light. Laura’s list of exhibitions, past, present and future, demonstrates that this girl isn’t just talented, she also has drive and passion in spades. I think we will be hearing more from Laura – lots more.

Laura Ward Self 2
Self-portrait

Your new exhibition with photography group Effra FC is showing now in Camberwell. Tell us a little about Effra please.
Effra FC is a South London collective of photographers, with varying levels of skill and styles, who meet once a month in a local pub. Over the last few years it’s grown from a handful of strangers into a 90+ group. Effra has favoured low-fi (ie free) techniques to show work in the past. Mark from Sun and Doves invited us to put on our first professional show and 16 members opted in. It’s a wonderfully eclectic group of people who don’t take Effra FC too seriously. I think that is what makes it work. I’m really proud to be a part of it.

Laura Ward Ponies Effra FC
Ponies, on show now with Effra.

Effra started as a Flickr group. It seems to me everyone who uses Flickr adores this site. What is it about this site that resonnates so strongly with its users?
The simplicity of Flickr is one of the reasons that we’re all photographers now. I remember the excitement of taking my pictures out of a static website and having this new interactive audience at my fingertips. Having strangers comment on your work is a thrill. It’s also a huge source of inspiration and reference as it’s saturated with so many impressive photographers and ideas.

Laura Ward Self 1
Self-portrait

Your CV of photography exhibitions is impressive. Could you tell us about a favourite project please?
Thank you. I tend to favour projects that take me out of my comfort zone. That said, my favourite project is one called ‘Unthought’. I work on images collaboratively with Belgian photographer Stefan Vanthuyne. We don’t discuss how we do it and quite often it doesn’t work, but that is part of the process. Photography can be very isolating, so ‘Unthought’ is a very happy friendship. I also worked on ‘The Apollo Project’ with Jonny Hughes where we took over a shop for a month and turned it into an art/music venue. I could write a book about that month, so that was definitely significant. As soon as those doors opened, it belonged to the community.

Laura Ward Unthought
Unthought

Your previous show was the group exhibition ‘Send me a postcard darling’. What was the thought behind this, and how did you get the enchanting Melissa Auf Der Maur to participate?
I decided to book The Red Gate gallery in South London with the aim of doing something similar to shows in Nottingham and New York. SMAPD evolved into its own little thing thanks to the people that got involved. Postcards are such an accessible format for everyone to produce but it’s a size that can challenge you. A couple of established artists commented on how difficult the format was to work with. I remember seeing one of Melissa’s photographs many years ago which I was really drawn to. It was a self portrait called something like ‘When I’m sad, my nose bleeds’. She’s so supportive of creative projects like this so I just asked her. Having established artists like Melissa Auf der Maur, Chad Van Gaalen and John Riordan means more people might come along and take a look at the work of home studio heroes.

Laura Ward Autumn
Autumn

Is there a new project coming up which you can tell us about?
I’ve started planning a new project which is partly inspired by the film ‘The Double Life of Véronique’. At the moment it’s a portrait series of 10 people who lead double lives, or those who do one thing to fund something else. I’m really interested in layers and mystique in subjects and they’ll probably be multi-exposed. I’m also hoping that 2011 takes me out of my comfort zone, which is why I’m taking part in Sonny Malhotra’s ProAm Project.

You have an international background. Do you consider London your home? How does taking photos around London compare with photographing other places?
I’m 32 now and having lived in so many places, I can make anywhere feel like home but London is the one place I feel comfortable. I like diversity, uncertainty and the fact that I have friends from all over the world in the same place. I live in Herne Hill which is a wonderfully friendly little melting pot of the best of all worlds and I can’t help but take photographs of it. That said, I need to get out of it fairly regularly to be able to appreciate it. I’ve done very little London life photography this year and I’d like to get back into it.

Laura Ward She Makes War
She Makes War

Your website and Flickr stream has an impressively wide range of photos and styles. You have these amazing, intense portraits as well as the really fun, playful stuff. What kind of photography is your favourite?
I’ll take photographs of almost anything I prefer an element of surprise and untidiness. I don’t really favour studio lighting, and I try not to plan too much. My favourite kind of picture is a soft abstract female shot. I love Francesca Woodman’s work so if I could take more images akin to hers, I’d be happy. Though I’d never want to rip her off.

I really love the set of pictures taken in mirrors and shiny surfaces! But tell me, what’s the deal with these pictures?
It’s the depth, layers and the light! Puddles, mirrors, windows are so much fun. Taking photographs through layers is also great, whether it’s a layer of plastic, water, and even cling film. Despite having Photoshop, I use these pre-digital techniques all the time.

Laura Ward Mirrored
Mirrored

How did you get into photography? What is it you love about it?
I have absolutely no formal training. I started in my teens when my parents allowed me to go travelling to Italy on my own and my dad gave me a Pentax. I was still hoping to be a decent writer back then, but I quickly realised that taking pictures was much easier. I can never find the right words.

What do you do when you’re not taking pictures?
I’ve worked for charities for many years now. My day job is very much focused on numbers and organising – analysis, strategies, reporting, reconciliation and fulfilling appeals. I definitely get a kick out of working both sides of my brain but it’s not easy managing creative projects and having a day job. Having said that, I don’t think I could do one without the other.

Laura Ward’s work is showing now with Effra FC – on until 25 January at the Sun and Doves,61-63 Coldharbour Lane, Camberwell, London SE5.
Why did you decide to set up business?
 
Akamuti grew out of my passion for plants! I’ve always been interested in their role in tree medicine, page herbalism and aromatherapy so it feels very natural to work with all these wonderful ingredients. Akamuti began in 2003 when I was only 20 years old and keen to start my own business. I think that being home schooled from the age of 10 instilled in me a very independent outlook on life and this streak has grown with me! The business started off in a really small way, advice mixing up tiny amounts of creams & balms from raw ingredients – always using only the best natural ingredients that we could source. Then I would set off to the local health shops with my little box and try to sell them. It was really exciting to get a positive response and this spurred me on to set up a website so that people could order online. From these humble beginnings the business slowly but surely began to grow. Nowadays the whole family are involved in the business, troche with five of us working together. Our combined enthusiasm for a holistic way of living, eating and healing keeps our creativity focused, ensuring that our products reflect our ethics.

Why is being part of a family business so satisfying?
Its good to work together because you have people you know that you can rely on in a crisis. We understand each better than anyone else and thankfully we all seem to rub along nicely so we make a good team.

How did you train yourself to make skincare products?
When I was 17 I did a herbal medicine course that taught me how to make balms and macerated oils, which was great fun to do in the kitchen. I loved drying herbs, hanging them from the airer so that they made a mess on the floor. I experimented, researched and got my hands dirty until I found a recipe that I was happy with. I’ve also worked in aromatherapy for many years so I know my ingredients inside out.

How is your organic vegetable garden, and do you grow any of your own ingredients?
I really love gardens and I’ve been trying my best to grow veg for years. This year I managed to coax some lovely potatoes out of the ground as well as salads, tomatoes and a million cucumbers. Sadly, my onions and garlic didn’t even get chance to see the sunshine this year (slugs!) but I plant them every year because it feels wrong not too! We have plenty of space so it’s been a dream of mine to grow our own ingredients for a few years now… I just need to find the time. 
I’m hoping to plant a lavender and rose garden at some point so that I can make a small amount of my own rosewater!  
 
Can you describe the set up in Wales?
We work from our workshop in a beautiful valley in south west Wales overlooking the Brechfa Forest. We have a smallholding so it’s not only home to us but a few unruly animals as well. It’s a truly inspirational place to live, with nature literally on the doorstep and natural beauty around every corner. I love the peace and quiet here, it really nourishes the soul.   

When you have visitors where do you take them out?
I would take them to our little town of Llandeilo to shop for organic bread and homemade ice cream, then we would visit Carreg Cennen Castle, dramatically perched on a limestone outcrop. I’d make sure we visited the seaside where there are countless coves to choose from, so we might just do them all. And to finish, we would end up in our local pub which has the best beer garden in the world!

What are the benefits of being in Wales, and the pitfalls?
I love the wild side of Wales most. It’s great to nip out the door and within minutes you can be in a forest, a meadow, or on a mountain. I love the trees and fields, the castles, the coastline, the views out to the Brecon Beacons, the stunning drive through the Towy Valley. There is a strong craft community here, we have several community run shops, and there is a lot of great food and farm produce about too. The pitfalls… what pitfalls!?
 
Been anywhere else lately?
I’ve just got back from southern Snowdonia where I stayed at the foot of Cadair Idris. There is a beautiful lake there which I love. It is very cool and quiet – you could be anywhere in the world. I’ve also recently discovered the New Forest – I particularly like all the animals wandering freely through the villages.

How do you source your fairtrade organic ingredients?
Thankfully the internet makes this very easy. We find new suppliers quite quickly and many come by word of mouth. A lot of the time I stumble across people doing amazing things which I note down for the future!

What is the first thing you do when you want to invent a new product?
I make myself a coffee, find a comfy spot, get my notebook out and start writing. I think of what I want to achieve with the product and what I would like to go in it and then I start putting them together. I also brainstorm with everyone else. A bit like planning a garden, the best part is picking the plants! 

What exciting new products are you working on at the moment?
I’m working on a flower based perfume at the moment, so I’m playing around with sandalwood, rose, jasmine and a number of other oils to get the best combination. I’ve decided to keep the perfume as an oil, much like the ancient Attar perfumes, which were based on sandalwood oil. I am a big fan of eastern aromatherapy and I like the way the scents make me drift away to the ancient lands of Persia or Anatolia in my mind.  

What is your favourite ingredient to work with and why?
I’ve got a few favourites but I’ll try and narrow them down. My first love is definitely Rose Otto oil – it works so well for many physical and emotional problems, as well as smelling beautiful. I also love working with Neroli essential oil because it is so uplifting. If an oil could have the quality of kindness then this is the one! 

Why should people buy your products?
Because they are good for the skin and the soul! They are made with 100% natural ingredients from start to finish without any additional rubbish, and we try our best to harness all of the natural goodness of trees, plants and flowers in each product so that our customers get the very best we can make. Our products are people and planet friendly, and they are affordable too.
 
Akamuti by Jenny Lloyd
Akamuti by Jenny Lloyd.

I first became enamoured with Akamuti skincare products when I discovered the brand in 2008 and subsequently interviewed them for the last print issue of Amelia’s Magazine. A family run business in Wales that creates gorgeous organic fairtrade products – what’s not to like? Time to find out what founder Lindsey Hedges is up to these days…

Why did you decide to set up business?
Akamuti grew out of my passion for plants! I’ve always been interested in their role in tree medicine, information pills herbalism and aromatherapy so it feels very natural to work with all these wonderful ingredients. Akamuti began in 2003 when I was only 20 years old and keen to start my own business. I think that being home schooled from the age of 10 instilled in me a very independent outlook on life and this streak has grown with me! The business started off in a really small way, mixing up tiny amounts of creams and balms from raw ingredients – always using only the best natural ingredients that we could source. Then I would set off to the local health shops with my little box and try to sell them. It was really exciting to get a positive response and this spurred me on to set up a website so that people could order online. From these humble beginnings the business slowly but surely began to grow. Nowadays the whole family are involved in the business, with five of us working together. Our combined enthusiasm for a holistic way of living, eating and healing keeps our creativity focused, ensuring that our products reflect our ethics.

Akamuti skincare by Karina Yarv
Lindsey Hedges, founder of Akamuti. Illustration by Karina Yarv.

Why is being part of a family business so satisfying?
It’s good to work together because you have people you know that you can rely on in a crisis. We understand each better than anyone else and thankfully we all seem to rub along nicely so we make a good team.

How did you train yourself to make skincare products?
When I was 17 I did a herbal medicine course that taught me how to make balms and macerated oils, which was great fun to do in the kitchen. I loved drying herbs, hanging them from the airer so that they made a mess on the floor. I experimented, researched and got my hands dirty until I found a recipe that I was happy with. I’ve also worked in aromatherapy for many years so I know my ingredients inside out.

Akamuti-rose & marshmallow beauty mask
Akamuti’s Rose & Marshmallow Beauty Mask.

How is your organic vegetable garden, and do you grow any of your own ingredients?
I really love gardens and I’ve been trying my best to grow veg for years. This year I managed to coax some lovely potatoes out of the ground as well as salads, tomatoes and a million cucumbers. Sadly, my onions and garlic didn’t even get chance to see the sunshine this year (slugs!) but I plant them every year because it feels wrong not too. We have plenty of space so it’s been a dream of mine to grow our own ingredients for a few years now… I just need to find the time. I’m hoping to plant a lavender and rose garden at some point so that I can make a small amount of my own rosewater. 
 
Can you describe the set up in Wales?
We work from our workshop in a beautiful valley in south west Wales overlooking the Brechfa Forest. We have a smallholding so it’s not only home to us but a few unruly animals as well. It’s a truly inspirational place to live, with nature literally on the doorstep and natural beauty around every corner. I love the peace and quiet here, it really nourishes the soul.   

Akamuti-by-Nina-Hunter
Akamuti by Nina Hunter.

When you have visitors where do you take them out?
I would take them to our little town of Llandeilo to shop for organic bread and homemade ice cream, then we would visit Carreg Cennen Castle, dramatically perched on a limestone outcrop. I’d make sure we visited the seaside where there are countless coves to choose from, so we might just do them all. And to finish, we would end up in our local pub which has the best beer garden in the world.

Carreg-Cennen-Castle-by-Yelena-Bryksenkova
Carreg Cennen Castle by Yelena Bryksenkova.

What are the benefits of being in Wales, and the pitfalls?
I love the wild side of Wales most. It’s great to nip out the door and within minutes be in a forest, a meadow, or on a mountain. I love the trees and fields, the castles, the coastline, the views out to the Brecon Beacons, the stunning drive through the Towy Valley. There is a strong craft community here, we have several community run shops, and there is a lot of great food and farm produce about too. The pitfalls… what pitfalls!?
 
lindsey_akamuti_darren fletcher
Lindsey Hedges by Darren Fletcher.

Been anywhere else lately?
I’ve just got back from southern Snowdonia where I stayed at the foot of Cadair Idris. There is a beautiful lake there which I love. It is very cool and quiet – you could be anywhere in the world. I’ve also recently discovered the New Forest – I particularly like all the animals wandering freely through the villages.

Cadair Idris by Karina Yarv
Cadair Idris by Karina Yarv

How do you source your fairtrade organic ingredients?
Thankfully the internet makes this very easy. We find new suppliers quite quickly and many come by word of mouth. A lot of the time I stumble across people doing amazing things which I note down for the future.

What is the first thing you do when you want to invent a new product?
I make myself a coffee, find a comfy spot, get my notebook out and start writing. I think of what I want to achieve with the product and what I would like to go in it and then I start putting them together. I also brainstorm with everyone else. A bit like planning a garden, the best part is picking the plants! 

Akamuti-buttered rose & almond hand cream
Akamuti’s Buttered Rose & Almond Hand Cream.

What exciting new products are you working on at the moment?
I’m working on a flower based perfume at the moment, so I’m playing around with sandalwood, rose, jasmine and a number of other oils to get the best combination. I’ve decided to keep the perfume as an oil, much like the ancient Attar perfumes, which were based on sandalwood oil. I am a big fan of eastern aromatherapy and I like the way the scents make me drift away to the ancient lands of Persia or Anatolia in my mind.  

What is your favourite ingredient to work with and why?
I’ve got a few favourites but I’ll try and narrow them down. My first love is definitely Rose Otto oil – it works so well for many physical and emotional problems, as well as smelling beautiful. I also love working with Neroli essential oil because it is so uplifting. If an oil could have the quality of kindness then this is the one. 

Why should people buy your products?
Because they are good for the skin and the soul! They are made with 100% natural ingredients from start to finish without any additional rubbish, and we try our best to harness all of the natural goodness of trees, plants and flowers in each product so that our customers get the very best we can make. Our products are people and planet friendly, and they are affordable too.
 
Akamuti-replenishing rose facial oil
Akamuti’s Replenishing Rose Facial Oil.

What do you expect to top your Christmas bestsellers list this year?
At the moment, our Replenishing Rose Face Cream is selling very quickly so we are making lots of it to try to keep up with demand. Over the winter the skin tends to dry out much more (I know mine has!) so your skin will really appreciate a good, rich moisturiser to put back all the goodness which the cold weather takes out of it. Replenishing Rose Face Cream is a welcome treat for tired, hungry skin because it is very rich and softening, combining nourishing raspberry, precious pomegranate and rosehip oils with luxurious Rose Otto oil. I expect all our face creams and exotic butters to be the bestsellers over Christmas because they make lovely, unusual presents that are totally natural and ethical.

***************************

I recently chanced upon a bottle of Kalahari Watermelon Body Oil that had been kicking around in the back of my bathroom, and let me tell you it is a glorious treat after a brief interlude of using a cheap Superdrug moisturiser. It smells utterly heavenly and soaks in really well, leaving a delicate waft of essential oils in its wake. You too can shop with Akamuti on their website and at independent retailers across the country.

Categories ,Akamuti, ,Aromatherapy, ,Attar perfume, ,Beauty, ,body butters, ,Brechfa Forest, ,Brecon Beacons, ,Buttered Rose & Almond Hand Cream, ,Cadair Idris, ,Carreg Cennen Castle, ,Darren Fletcher, ,face cream, ,fairtrade, ,Health, ,Herbal Medicine, ,jasmine, ,Jenny Lloyd, ,Kalahari Watermelon Body Oil, ,Karina Yarv, ,Lindsey Hedges, ,Llandeilo, ,Neroli oil, ,New Forest, ,Nina Hunter, ,organic, ,Persia, ,Pomegranate, ,Raspberry, ,Replenishing Rose Face Cream, ,Replenishing Rose Facial Oil, ,Rose, ,Rose & Marshmallow Beauty Mask, ,Rose Otto oil, ,Rosehip, ,sandalwood, ,Snowdonia, ,Towy Valley, ,Tree Medicine, ,wales, ,Yelena Bryksenkova

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Amelia’s Magazine | An interview with painter, Jethro Buck

Oxford

Edgar Degas’ statement; “Art is not what you see, mind medicine but what you make others see, viagra 100mg ” pre-empts the paintings of Jethro Buck. Whilst Buck and Degas’ individual work relates to painting’s ability to convey emotional expressions by their manifold, their similarity lies in an ability to push the audience’s understanding of what it is to see the world.

Jethro Buck’s most recent paintings explore the geometry and non-linear perspective employed within Indian and Persian Miniatures in the creation of multiple narratives on a single picture plane. Subsequently Buck asks the audience to reconsider Western Perspective’s reliance on a single point of vision (or a single point of view) to create a static narrative within the illusion of 3D space.

What drew you to painting, as a medium?

Paint is an amazingly versatile material that can be turned, pretty much, into anything you want. It is pure pigment mixed with a binding medium, but when you squeeze it onto a palette, you have a little colourful blob of potential. Sometimes I’m quite happy just to leave it at that!

The rock where the pigment comes from is like a caterpillar, the manipulation of paint in the studio is the chrysalis and the painting is the golden Butterfly. What was a blob is transformed! Whereas, the art historians and the critics of the world are interested in the butterfly, the painters are more interested in the miracle of the chrysalis.

Whilst painting I find myself thinking in the language of paint. When visiting a museum, you’re meant to step back and think about the painting and its subject and ideas. I am always getting told off in galleries for looking so closely at a painting that my nose scrapes the surface! The closer I am to the painting, the closer I am to the world of the studio and artist’s thoughts as they mixed, diluted, scraped and brushed.

Do you find yourself follow traditional rules when constructing a painting?

Inevitably, through painting a lot, established rules are learnt and knowledge is acquired and the more of these rules you discover. However, in order for me to think differently and follow a creative process beyond a known craft, I think rules need to be broken. It is however, a good practice to learn as many rules as you can, so you know which rules to break later.

It has occurred to me that I really do not know the many rules of Indian miniature painting; For example, the relation between symbolism and the meaning of colour. The upside is that I am free to do whatever I want. However, I would like to know what rules I am breaking, as I don’t know what I’m missing. Ideally, I would like to return to India and study as an apprentice.

What is it that interests you about the possibilities of the surreal?

When a painting becomes surreal I am no longer confined by the rules of physics and therefore there are more possibilities.

I think I became interested in experimenting with the surreal after returning from India. It can feel surreal being in a different culture. What’s real to you is surreal to someone else and vice versa.

Pink and Grey

Does the subject matter of your painting change depending on the scale of the canvas?

It does, slightly, I tend to paint really big or really small. I like art to be removed from the everyday and the medium –to me- represents the everyday. I like the extreme ends of spectrums. I like the sense of intimacy produced by a small painting, as the viewer has to engage in a one-on-one level with the piece. Which is not to say big paintings cannot be intimate, when a subject is large in scale; it feels as if, it is perceptively closer to you.

Which leads to the inevitable question: Who or what are you artistic inspirations?

Nature, Matisse, Marrakech, India, miniatures, rugs, textiles, old natural history prints and TED lectures. I am interested in the relative, cyclic and none dualistic nature of Indian mythology, there is no definite yes or no meaning to my paintings.

What do you think enables a single painting to tell 1000 words?

Henri Matisse once said:

“The only valuable thing in art is the one thing that cannot be explained, to explain away the mystery of a great painting would do irreplaceable harm, for whenever you explain or define something you substitute the explanation or the definition for the image of the thing.”

The Fall

With this in mind, how do you approach the process of titling your work? For instance with a work such as “Fall” What’s the story behind this title?

I paint and then I write the first thing that comes to my head. ‘Fall’ comes from a photo of a really happy scene – some boys in India were jumping and flipping into a river. As the river can’t be seen in my painting, the image of a falling figure can become a metaphor for taking a leap into the unknown. The fall can be a weightless, disorientating and scary experience or an amazing, life-filled, liberating one.

‘Bird carpet bird’ was inspired by various world textile patterns and colours. ‘Oxford’ was painted in November and the colours appear muted compared to the Indian ones, because it’s a response to the sandy colours of Oxford. ‘A Zebra, on the moon?’ is less about colour and more about a zebra on the moon.

A Zebra, on the Moon

Which leads me to ask… How did A Zebra on the Moon develop? What is the story behind the image?

Zebra on the moon was born out of a conversation with Lilly (4) and Daisy Palmer (7). One day I asked Lilly what I should draw, and she replied.., “a flower eating a lorry!”

Children often possess the divergent thinking skills considered a sign of genius in adults. As we grow up, we unlearn this way of thinking, but my conversations with Lilly and Daisy have engaged this part of my mind.

As an English painter you must find yourself negotiating incredible rapid weather changes, do the differing quality of light impact upon your work?

The quality of light definitely affects my paintings. Whilst getting off a train in India, the boy sitting next to me asked, “what is your favourite thing about India?” In a hurry I said, “the people and the light“. The quality of light changes everywhere you go, in India, the sky would turn an amazing shade of red in the dusty light.

Generally, as an English painter it’s great to go to sunny countries with lots of light. The more light there is, the more vibrant colours become. I don’t think there is anywhere more colourful than India. Leaving a grey wintery England and landing in India is like suddenly discovering you have a colour saturation dial – on what you thought was only a black and white TV. On my return, my work, has unquestionably become more saturated.

Creative Goose

What impact do you think the development of Western Perspective has had on narration within paintings?

With the invention of perspective came the ability to create illusionary 3D space on a flat plane. These days’ cameras create this illusion all the time on our behalf. Photography and perspective rely on a similar principle, for the illusion to work; you have to have a single point of vision. A camera has to be still, in one place and in one time, in order to capture what is in front of it. Essentially what you end up with is an image representing a singular frozen moment – for me, perspective stops time.

This development created a way of representing the world, which –as an example- was very unlike the Bayeux tapestry or a Persian miniature, where lots of temporal events are represented simultaneously in one piece of work. It is easier to fit a wider time range on a non-perspective piece of work.

Haiku

Have you found this secondary impact of perspective as a time ‘freezer’ constraining as a painter?

It’s not a constraining idea, because it doesn’t really come into mind during the process of painting. Painting at its best is an action that happens in the here and now. I find the less thought there is usually the better a painting goes.

Does your interest in the possibilities of representing ideas of universality through geometry, stem from your own interest in biology and nature?

In a way, yes, there are many organic forms and occurrences in nature that have a flowing sort of chaotic order. I love the cracked, sun-baked earth ripples, clouds, cracked paint, the braches of a tree and the similar shapes of veins in the leaves, nerve cells and lung alveoli when looked at under a microscope. The forms repeat themselves in seemingly disparate areas of nature but there appears to be a common blueprint networking its way through everything; acting as a record of the flow of energy. Geometric patterns found on carpets and tiles are similar to these occurrences; they just happened to be straighter and neater versions.

Bird Carpet Carpet Bird

Which in turn – it could be said- relates to your long running interest in decoration and pattern?

I’ve always been drawn to pattern and if you walk around the Ashmolean or any museum, it will appear that most of humanity always has. Pattern seems to occur in cultures across all of time. It’s beautiful. Recently, my patterns have become more organised due to an increased interest in geometry. I’ve only scraped the surface of a vast discipline, but the first time I saw truly breath taking geometry was when I visited the Alhambre in Spain. As the Islamic world has studied geometry more deeply than any other culture, it makes sense –if one is interested in pattern- to study the magnificent geometric patterns of Islamic palaces and mosques.

The more I look at nature, the more geometry I see in it and the more I look at geometry, the more of nature I see in it. An obvious example of geometry in nature is the Romanesco cauliflower. I like to notice strikingly similar formations in widely different circumstances; such as the branches of trees, arteries, ripples and clouds.

Forever

An exhibition of Jethro Buck’s most recent paintings are currently on display at the North Wall Arts Centre, Oxford.
The gallery is open from 11am – 4pm Monday to Saturday and the exhibition runs from the 6th to the 18th December 2010.

Categories ,Alhambra, ,Degas, ,Falling, ,India, ,Jethro Buck, ,matisse, ,Oxford, ,painting, ,Persia, ,Port Meadow, ,spain, ,Summertown, ,Ted Lectures, ,The North Wall, ,Western Perspective

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