Picture Andy Barnes Pamela Sharrock , Denise Welch , Steven Smith Vicki Michelle ,
Back in May 2Shades writer celebrated his birthday here is the article that was held back
Pictures by Andy Barnes
Former celebrity hairdresser turned author, writer and broadcaster Steven Smith celebrated his milestone birthday in true glamorous fashion with a star-studded gathering at the much-loved Firepit Gallery in London.
The special celebration was not simply about marking another birthday — it was also held in aid of Anna Kennedy Online, the autism charity that Steven has proudly supported as a patron for the past 12 years. Friends, supporters and familiar faces from the worlds of entertainment, media and charity gathered, despite soaring temperatures, to celebrate a man many affectionately describe as a loyal friend, generous supporter and tireless champion of good causes.
Among those joining Steven for the occasion was Dr Anna Kennedy OBE, founder of Anna Kennedy Online, whose work supporting autistic people and their families has transformed countless lives. Steven has long been a passionate advocate for the charity and has supported many of its flagship events over the years, including Autism’s Got Talent, the Autism Hero Awards, and the Autism & Art Show.
The evening also became a reunion of cherished friendships spanning decades. One of the most touching appearances came from actress and presenter Denise Welch, Steven’s best friend of 45 years. Denise, who recently returned to television screens in Tip Toe, written by Russell T Davies for Channel 4, made time to celebrate the occasion with her long-time friend.
Denise Welch and Anna Kennedy OBE Picture Andy Barnes
Steven first met Denise back in Brighton, when she was appearing in the play Nigeria Falls, and the pair have remained close ever since, supporting one another through the highs and lows of both life and career.
Another familiar face lending support was actress and presenter Vicki Michelle, best known and adored for her role in the iconic comedy series ’Allo ’Allo!. A long-time friend of Steven’s and fellow patron of Anna Kennedy Online, Vicki has been an unwavering supporter of the charity for many years. Whether attending Autism’s Got Talent, judging at the Autism Hero Awards, or supporting the Autism Art Exhibition — even purchasing artwork to encourage autistic artists — her commitment has remained steadfast.
Aston Avery picture Andy Barnes .
Speaking warmly about Steven, Vicki said:
“I have known Steven for years. He is a rock to many and does so much for charity. We love him.”
Also joining the celebrations were the ever-glamorous presenter and author Wendy Turner Webster and her husband, acting favourite Gary Webster, best known for Minder and EastEnders. Long-time friends of Steven and dedicated supporters of Anna Kennedy Online, Wendy and Gary have also lent their time over the years as judges at the Autism Hero Awards, helping to champion extraordinary people making a difference within the autism community.
Picture Andy Barnes Wendy Turner Webster and Gary Webster and Steven Smith.
Guests were treated to entertainment throughout the evening, with talented singer Tilly Aston delighting attendees with a stunning live performance. Meanwhile, DJ Sumz kept the atmosphere electric, ensuring guests danced late into the evening as laughter, friendship and celebration filled the Firepit Gallery.
Picture by Andy Barnes Tilly Aston
As birthdays go, Steven Smith’s 65th was not simply glamorous — it was heartfelt, filled with friendship, and reflected the generosity and kindness of a man who has spent much of his life giving back to others while never losing his sparkle. A birthday to remember, and proof that at 65, Steven Smith still knows exactly how to throw a fabulous party.
Long term friends Marieanne Nanson In red Irene Nanson , Rachel Zisser shades money man Richard Andrews actor Matthew
The evening raised over £1,000 for Anna Kennedy Online — making the celebration not only memorable, but meaningful too.
Looking through my old photographs brings back an extraordinary collection of memories. But what really stands out among them is my time with Anna Kennedy Online and, in particular, being a volunteer for Autism’s Got Talent. This year marks the 15th anniversary of Autism’s Got Talent, and for 13 of those years I have had the privilege of being involved.
When I first became involved, I could never have imagined the journey ahead. There have been red carpets, interviews, photographs, laughter, a few tears and, above all, some truly remarkable people. What started as supporting Anna and her work became something very personal to me. Thirteen years later, I am incredibly proud to have been asked to become, and to remain, one of the patrons of Anna Kennedy Online.
At the heart of it all is, of course, Dr Anna Kennedy OBE. Anna is one of those people who simply does not give up. I have watched her campaign, encourage, fight for families and create opportunities for autistic people year after year. We have stood together at countless events, and I have seen first-hand just how much work goes on behind the scenes.
We joke that Anna can get you to move mountains, even when you had no idea you could!
Today, the charity is involved in so much more, including Autism & Art, the Autism Hero Awards and many other events and initiatives throughout the year.
But one event has always had a particularly special place in my heart: Autism’s Got Talent. It was through this wonderful event that I really became part of the team.
The name may say “Got Talent”, but this has never been a competition. There are no winners and losers. It is about giving autistic performers a stage on which they can simply be themselves, celebrate their talents and show an audience exactly what they can do.
Over the years, I have watched performers walk onto that stage nervous and walk off absolutely glowing. Singers, dancers, musicians, comedians and performers with talents you could never predict have all become part of its history. Some moments have made us roar with laughter; others have left us fighting back tears.
The photographs here capture just a fraction of my own journey. The hairstyles may have changed — and looking back, perhaps some of the suits should remain firmly in the past! — but my reason for being there has never changed.
I have met wonderful families, performers, volunteers, supporters and fellow patrons. Some have become genuine friends. There is a sense of family surrounding Anna Kennedy Online that is difficult to explain until you have experienced it for yourself.
One of those friendships is with Aston Avery and his family. I will never forget meeting Aston and his mum and dad, Dawn and Keith. We became instant friends, and today I have the pleasure of joining Aston for our monthly show on Gateway Radio in Essex. Aston’s talent continues to blow me away, but equally impressive is his commitment to charity work and volunteering. He is an absolute credit to his family, and watching his journey over the years has been a privilege.
What I also love is how Autism’s Got Talent has evolved. Autism awareness has changed enormously during those years, but there is still so much work to do. Awareness is important, but acceptance, inclusion, opportunity and respect matter even more.
On 10 October 2026, Autism’s Got Talent returns to London’s Mermaid Theatre for its 15th anniversary. It promises to be an emotional night for everyone who has been part of its story.
For me, it will also be a chance to look back over 13 years and think: Where on earth did that time go?
I am immensely proud to have played my small part in this journey and even prouder of Anna, the team and, most importantly, every autistic performer who has had the courage to step onto that stage and share their talent with us.
Thirteen years has given me friendships, memories and moments I will treasure forever. And if there is one thing I have learned from Anna and Autism’s Got Talent, it is never to underestimate what someone can achieve when they are simply given the opportunity to shine.
Happy 15th anniversary, Autism’s Got Talent. Here’s to the next chapter. ❤️\
Art can be beautiful. It can be decorative. It can make us smile, stop us in our tracks or completely divide opinion. But at its most powerful, art can also start conversations about subjects we sometimes find difficult to put into words.
For artist Nelly K, creativity is about far more than producing something to hang on a wall. It is a way of communicating, challenging perceptions and, importantly, helping to break down the stigma that still surrounds mental health.
After earning her degree in Art from Birmingham University, Nelly began developing a creative path that brought together two things she cares deeply about: artistic expression and social impact.
Her work is bold, thought-provoking and unafraid to tackle difficult subjects. Rather than staying within the traditional boundaries of art, Nelly uses her creativity as a catalyst for conversation and change, exploring mental health and the way it is viewed and discussed within society.
Throughout her career, she has exhibited in local galleries, worked alongside mental health organisations, appeared on podcasts and become involved in community projects designed to encourage greater understanding and inclusivity.
There is also something very human at the heart of what she does. Art can give us a voice when finding the right words feels impossible. It can make the invisible visible and allow someone else’s experience to suddenly feel a little less distant.
Nelly remains committed to the belief that art shouldn’t simply be about personal expression. It can advocate, educate and even play a part in healing.
That immediately caught my attention.
So, for this edition of Art Attack, I wanted to find out more about the woman behind the work. Where does her inspiration come from? Why has mental health become such an important part of her artistic identity? Does an artist have a responsibility to challenge society? And can a painting genuinely change the way we think?
It’s time to meet Nelly K.
1. Nelly, let’s start right at the beginning. Were you one of those children who was always drawing and creating, or did your love affair with art come later?
I think creativity has always been part of who I am. Art became a way for me to express things that weren’t always easy to put into words. Over time, I realised that creativity could be much more than personal expression; it could be a way of understanding myself, connecting with others and exploring the world around me.
My relationship with art has grown alongside my own personal journey. It has given me a voice and, importantly, a way to explore identity, both my own and the identities of the people whose stories I encounter.
2. You studied Art at Birmingham University. What did those years teach you, not just technically, but about the sort of artist you wanted to become?
Studying Art at Birmingham University gave me the space to experiment, challenge myself and really think about the purpose behind what I was creating.
Technically, I learned a great deal, but the biggest lesson was realising that I wanted my work to mean something beyond the visual. I wanted to use art as a form of storytelling and as a way of starting conversations about issues that affect people in real life.
Those years helped me understand that I wanted to be an artist whose work combined creativity with social impact; someone unafraid to explore difficult subjects while still leaving room for hope.
3. Mental health is central to much of your work. Was there a particular moment or experience that made you realise this was something you wanted to explore through your art?
My practice is deeply rooted in my own journey and in the real experiences of people I meet. That authenticity is incredibly important to me.
I became interested in exploring mental health through art because I recognised that people are often far more complex than the labels society gives them. Our emotional wellbeing is influenced by our background, experiences, relationships and sense of self.
Art gave me the freedom to explore those complexities without reducing anyone to a diagnosis or a single story. I wanted to create work that encourages people to look beyond stigma and see the person first.
4. Mental health awareness has improved enormously, yet stigma certainly hasn’t disappeared. What frustrates you most about the way society still talks about mental health?
What frustrates me most is that awareness doesn’t always equal understanding. We have become much better at talking about mental health, but people can still feel judged or defined by a diagnosis or difficult period in their lives.
There is no single experience that represents everyone. Our backgrounds and circumstances shape how we experience the world, which is why listening is so important.
I think we need to become more comfortable with complexity and allow people to define themselves rather than having society do it for them.
5. Your work can be bold and thought-provoking. When you begin a piece, do you start with the image, an emotion, or with the message you want the viewer to take away?
Usually, it begins with a feeling, a story or a question. Sometimes it comes from something personal, and sometimes inspiration comes from something I have witnessed or heard.
The image often develops alongside the message. Visual storytelling is a huge part of my practice, and I’m fascinated by the way an image can communicate something that words sometimes cannot.
I don’t want to tell the viewer exactly what to think. I’d rather leave enough space for people to bring their own experiences and interpretations to the work.
6. Art is incredibly subjective. Have you ever created something that provoked a reaction you weren’t expecting, either positively or negatively?
Absolutely. Once you put artwork into the world, you lose complete control over how it will be interpreted. People bring their own memories, emotions and experiences to it, and they may see something completely different from what you originally intended.
That is one of the things I find most powerful about art. Something that begins as very personal to me can take on an entirely different meaning for somebody else.
Those unexpected reactions remind me that art doesn’t always need to provide answers. Sometimes simply making somebody stop, think or feel something is enough.
7. Is there one piece you’ve created that feels particularly personal to you, perhaps one that was difficult to make or that you found emotional to let go of?
The pieces that feel most personal are often the ones rooted most closely in my own journey. Creating them requires vulnerability because you are revealing something of yourself through the work.
We often see vulnerability as weakness, but I see it very differently. There can be enormous strength in allowing yourself to be open.
Letting go of a personal piece can be emotional, but there is also something wonderful about knowing that something which began with you can go on to have a life and meaning of its own.
8. You’ve worked with mental health organisations, podcasts and community projects. Has anyone ever approached you and told you that your art genuinely helped them or made them feel understood? How did that make you feel?
That is probably one of the most meaningful things an artist can hear. When somebody tells me that a piece has resonated with them personally, it reminds me why I create.
My work isn’t about speaking for other people or telling them who they are. I simply want to open a door to conversations that might otherwise be difficult to have.
Knowing that something I created has touched somebody or made them feel less alone is incredibly humbling. Moments like that stay with you.
9. If money, space and practicalities were no object, what would be your dream piece or exhibition to create, and where would you love to see it exhibited?
My dream would be to create a large-scale immersive exhibition that takes people on a real emotional journey.
It would bring together many different voices and perspectives, exploring not only struggle but vulnerability, resilience, healing, joy and celebration. I’d want visitors to experience something rather than simply walk around looking at pictures on walls.
I would love it to be staged in a major public cultural space, but ultimately I’d want it to travel. Art with an important message shouldn’t be restricted to traditional galleries or to people who already feel comfortable entering those spaces.
10. Finally, complete this sentence for me: “Without art, I would…”
Without art, I would be missing one of the most honest ways I know to understand myself, connect with others and make sense of the world.
Quick Fire
1. The most romantic place in London?
My bed.
2. What is your favourite colour?
Yellow. Loud, warm, fun and full of energy — a bit like myself!
3. Best meal you have ever had?
Every meal my mother made.
4. Can you describe happiness?
Happiness is feeling free to be yourself, feeling understood and fully present in the moment. Usually when it’s just me and my paintbrush.
5. Why do you love the Firepit Gallery?I love the Firepit Gallery because it feels like a place where creativity and people naturally come together. It gives artists the freedom to share their voices while making art feel welcoming and accessible. There’s a genuine sense that everyone is invited to be part of it, and I think spaces like that are incredibly important
September is already proving to be an incredibly busy month, and I am super excited with the preparations for the 15th anniversary of Autism’s Got Talent, taking place on 10th October.
It’s hard to believe that we are celebrating 15 years of this very special event! Over the years, Autism’s Got Talent has given so many talented autistic performers the opportunity to take to the stage, showcase their abilities and, most importantly, shine.
We are still looking for sponsors to support this year’s Autism’s Got Talent, so if you, your business or someone you know would like to get involved and help us make our 15th anniversary celebration extra special, you can find all the sponsorship details here in 2Shades:
We are also still buzzing from the huge success of Autism & Art. The response to the exhibition was absolutely wonderful, and it was fantastic to see so much incredible creativity on display.
In fact, it was such a success that Marcus Jake at the FirePit Gallery, with the help of one of our patrons, Steven Smith, has agreed to host Autism & Art again next year!
So, to all of our wonderful artists and budding artists out there, please get painting and creating. You could have the opportunity to see your artwork proudly displayed at next year’s exhibition. We cannot wait to see what you create!
We also managed to let our hair down a little at the gallery with a fantastic karaoke evening. It was a wonderful opportunity to celebrate the birthdays of Marcus Jake and another of our biggest supporters, talented artist and photographer Anne-Marie Bickerton. There was plenty of singing, laughter and, most importantly, a chance to celebrate with some very special friends and supporters.
Letting our hair down at the Firepit gallery for owner Marcus Jake and Anne-Marie Bickerton’s birthday .
Another great moment came courtesy of Aston Avery, who did us proud at Chelmsford Theatre when he was Highly Commended at the BBC Make a Difference Awards.
What a sleek and wonderful awards show it was, with so many impressive and inspiring entries. It was fantastic to see people being recognised for the difference they make within their communities, and we were extremely proud to see Aston receive such well-deserved recognition.
Patron Aston Avery receives his award
Finally, don’t forget to get your tickets for the 15th anniversary of Autism’s Got Talent on 10th October. It promises to be another unforgettable evening celebrating some truly incredible talent.
Thank you, as always, for your continued support. There is so much happening, and I’m looking forward to sharing more news with you very soon!
Anna Kennedy OBE
ANNA’S BOOK REVIEW
La Verdad Sobre el Autismo – Lo que nadie quiere contar
The Truth About Autism – What Nobody Wants to Talk About
By Fernando Cabal
For almost 30 years, I have been campaigning for autistic children and adults and, just as importantly, for the families who love them, care for them and sometimes have to fight very hard to get the right support.
If there is one thing I have learned over the years, it is that there is no single autism story.
Every autistic person is different, every family is different, and their experiences can be very different too.
Fernando Cabal’s La Verdad Sobre el Autismo is not an easy or comfortable read, and I don’t think it is meant to be.
Fernando wants people to talk about a side of autism that he believes is too often overlooked.
We quite rightly celebrate autistic talent, achievements and difference. Through my charity and Autism’s Got Talent, I have had the privilege of meeting some incredible autistic performers, artists, speakers and young people who have achieved things that perhaps other people once thought were impossible.
I will always celebrate those achievements.
However, we must also make sure we don’t forget autistic people with more complex support needs, like my son Angelo, and the families supporting them day and night.
Fernando writes about autistic people who may be non-speaking or pre-verbal, who may self-injure, who need round-the-clock supervision or who will require significant support throughout their lives.
This is a reality for many families, and their voices matter too.
One part of the book that particularly struck a chord with me was the question of what happens when an autistic child becomes an autistic adult.
Autism doesn’t suddenly stop when someone turns 18 or 25.
Fernando challenges systems that diagnose too late, fail to provide the right educational support and then leave families fighting their way through yet more paperwork and bureaucracy when their children become adults.
Although he is writing mainly about the situation in Spain, I know many families here in the UK will recognise some of these same worries.
What happens when education finishes?
Where is the right support?
Where are the opportunities, appropriate services, supported living and specialist provision for those who need it?
Then there is the question that I know keeps many parents awake at night:
Who will look after my son or daughter when I am no longer here?
This is something I have also raised through my petition, and as a mam of two autistic sons, that question is very close to my heart.
There will be parts of this book, including some of its language and arguments, that autistic people, advocates and professionals may disagree with or challenge. That is OK. We do need these conversations.
No one person, organisation, campaigner or author can speak for everyone across such a wide and diverse spectrum.
We absolutely need to listen to autistic voices. We also need to remember those autistic people who cannot easily tell us what they need and who rely on the people who know and love them to advocate alongside them.
For me, Fernando Cabal’s book leaves us with an important challenge.
Inclusion has to be more than a word.
It has to mean something in real people’s everyday lives.
Yes, let’s celebrate autistic talent and achievement.
But let’s also talk about the difficult days, the sleepless nights I shared recently, the lack of services, the battles for support and the worries about the future.
Those stories matter too.
If La Verdad Sobre el Autismo gets governments, professionals and society talking about autistic people and families who sometimes feel forgotten or invisible, then perhaps it has started a conversation that we very much need to have.
Anna Kennedy OBE
La Verdad Sobre el Autismo – Lo que nadie quiere contar by Fernando Cabal was published by Mandala Ediciones in August 2026.
Anna Kennedy OBE Chairperson
Brook House 54A Cowley Mill Road Uxbridge Middlesex UB8 2FX
There are some evenings that entertain you, and there are others that remind you just how extraordinary people can be. Autism’s Got Talent does both.
This year is particularly special. On 10 October 2026, Autism’s Got Talent returns to London’s Mermaid Theatre to celebrate its 15th anniversary — fifteen years of giving autistic children and adults the opportunity to step into the spotlight and show an audience exactly what they can do.
Created by Dr Anna Kennedy OBE and her charity Anna Kennedy Online, Autism’s Got Talent has become the highlight of the charity’s year.
Over those years, singers, dancers, musicians, magicians, poets and performers of all kinds have taken to the stage. There have been standing ovations, laughter and more than a few tears. In 2022 alone, a packed 650-seat Mermaid Theatre watched performers receive standing ovations throughout the evening.
But putting on an event of this scale takes support — and we are looking for sponsors who would like to become part of the Autism’s Got Talent story.
Sponsorship packages start from just £500, giving businesses and individuals the opportunity not only to support this remarkable event but also to receive significant exposure.
Benefits include your logo on the Anna Kennedy Online website and in the event programme, six complimentary VIP tickets, complimentary drinks, social-media promotion to a network of more than 100,000 people, wider outreach exceeding half a million people, press promotion and excellent networking opportunities.
Most importantly, however, your sponsorship helps provide a stage where autistic performers are not defined by a diagnosis or by what somebody thinks they cannot do.
They are simply performers. And the stage belongs to them.
As Patron of Anna Kennedy Online, I have witnessed first-hand just how special Autism’s Got Talent is. I would love to see businesses, brands and individuals come forward and help us make the 15th anniversary an evening these talented performers will never forget.
There are some people whose careers follow a fairly predictable path, and then there are those who take a completely different route. Dr Joseph Crespo certainly falls into the latter category.
London-based Dr Crespo has a fascinating and varied background. Before entering the world of medicine, he studied law and went on to complete an MBA in London, before working in the financial sector as a consultant and analyst. But his story didn’t end there. He made the considerable decision to change direction and retrain as a doctor — beginning a new chapter that would eventually see him working across both NHS and private healthcare.
His medical career has been equally varied, with experience ranging from GP surgeries and urgent care to walk-in centres, out-of-hours services and even HM Prisons. He has also been involved in teaching the next generation of doctors as a GP tutor and clinical examiner, alongside undertaking medical charity work in India.
It is perhaps not surprising, then, that someone who has reinvented his own life more than once should become interested in the science behind our ability to change.
That interest has now resulted in his book, The Science of Becoming: A Medical Approach to Self-Transformation. Rather than simply telling us to think positively or try harder, Dr Crespo looks at personal change through the eyes of a medical professional, exploring subjects including habits, decision-making, stress, sleep and nutrition — and asking how science can help us make changes that actually last.
At a time when social media seems to offer us a new wellness trend, miracle solution or life-changing hack almost every day, separating good advice from clever marketing has arguably never been more important.
So who better to ask than the doctor who has made transformation not only the subject of his book, but something of a feature of his own extraordinary career?
I caught up with Dr Joseph Crespo to find out more…
Dr Crespo, tell me a little about you. What was your journey into medicine, and what eventually made you want to write a book about changing our lives?
My journey into medicine was long and unorthodox, training first as a lawyer and then a financier. When I finally left it all behind to follow my passion, I trained and practise as a primary care physician, and for years my work sat at the intersection of diagnostics, chronic illness and prevention.
What struck me again and again in clinic was that the biggest lever for most people’s health wasn’t a prescription. It was the slow accumulation of daily choices: how they slept, how they handled stress, what they ate, how they thought about themselves. I kept watching patients try to change with sheer determination and fail, not because they lacked willpower but because nobody had ever given them a framework. Medicine has one. It’s called clinical reasoning, and I realised the same discipline doctors use to diagnose and treat could be turned inward, applied to the process of changing a life rather than treating a disease. That’s where the book came from.
The title is The Science of Becoming. Becoming what? Is there actually an optimum version of ourselves, or are we in danger of constantly being told that we need to improve?
Becoming isn’t about arriving at some fixed, optimised endpoint. There’s no single best version of a person waiting to be unlocked. What I mean by becoming is closer to what we mean clinically by healing: a direction, not a destination. It’s the ongoing process of reducing the gap between how you’re currently living and what your body and mind actually need to function well. I’m wary of the “optimisation” culture that treats a person like a machine to be tuned for maximum output.
That framing burns people out. The question I ask is not “how do I become the best version of myself” but “what is actually true about my biology, my history and my circumstances, and what does that call for right now.”
You argue that we rely too much on willpower. Why doesn’t willpower always work, and what should we be doing instead?
Willpower is a finite, fatiguing resource, and it’s also the wrong tool for the job. In clinic, we don’t tell a patient with a chest infection to try harder not to be infected. We diagnose, then we design an intervention suited to the underlying problem. Most of what looks like a willpower failure is actually a design failure: an environment, a routine or a belief system working against the change someone is trying to make. Instead of asking for more willpower, I encourage people to reduce the number of decisions that require willpower in the first place, by changing defaults, removing friction, and building systems that make the desired behaviour the easy and enjoyable behaviour.
You take clinical decision-making and apply it to everyday life. Can you give me a real-world example? How could I use clinical reasoning to make a better decision tomorrow morning?
Clinical reasoning follows a simple sequence: gather data, form a differential, test it, act, then reassess. Take something as ordinary as feeling constantly tired. Instead of reaching straight for caffeine or willing yourself through it, treat it like a case. What’s the data: how did you sleep, what did you eat yesterday, who did you mix with, what’s your stress load this week. What’s the differential: is this poor sleep quality, is it dehydration, is it emotional load, is it simply overtraining. Pick the most likely cause, make one small deliberate change, and observe the result over a few days rather than guessing forever. Tomorrow morning, that might be as simple as noticing what you automatically reach for and asking, briefly, what problem am I actually trying to solve with this.
We’re bombarded with wellness advice on social media — supplements, fasting, cortisol, sleep hacks, diets and longevity treatments. As a doctor, how do you separate genuine science from very clever marketing?
I look for three things. First, is the claim built on a mechanism that’s been demonstrated in humans, not just in a petri dish or a mouse. Second, does the person selling it benefit financially from your belief in it, and how large is that incentive. Third, is the advice generalised or personalised. Genuine science tends to come with caveats, uncertainty and “it depends.” Marketing tends to come with certainty, urgency and a product at the end of it. If a claim can’t survive the question “compared to what, and for whom,” I treat it with real caution.
Neuroscience has become a fashionable word in the self-help world. What do we genuinely know about changing the brain and forming new habits, and what claims do you think go beyond the evidence?
What we know reasonably well is that the brain retains plasticity throughout life, that repetition genuinely does strengthen certain neural pathways, and that habits form through consistent cues and rewards over time, typically longer than the popular twenty-one-day myth suggests. What goes beyond the evidence is the tendency to take a genuine finding from a controlled lab study and present it as a guaranteed personal transformation protocol. Dopamine, cortisol and neuroplasticity get used as marketing words rather than as the specific, conditional findings they actually are. I try to be honest with readers about where the solid ground ends and the speculation begins.
What about someone in their 60s or 70s? Can we genuinely make substantial changes to our habits, health and outlook later in life, or does change become significantly harder as we get older?
Change is absolutely still possible, and I say that as a clinician who sees it happen. What changes with age isn’t the capacity for change itself, it’s the margin for error and the starting conditions: more accumulated habits, sometimes more comorbidity, less physiological reserve to draw on. The clinical reasoning approach actually suits older patients well, because it isn’t about dramatic overhaul, it’s about identifying the one or two changes that will have the greatest effect given someone’s specific situation, and building from there patiently. I’ve seen patients in their seventies transform their sleep, their mobility and their outlook once they had a clear, individualised plan rather than a generic one.
Stress, sleep and nutrition all feature in your approach. If someone came to you and said, “I’m overwhelmed, I can’t change everything,” which one would you tackle first, and why?
Sleep, almost every time. It’s the foundation the other two rest on. Poor sleep drives stress reactivity, disrupts appetite regulation and blunts willpower and decision-making the following day. It’s also usually the most tractable of the three, because unlike stress or nutrition, sleep responds fairly quickly to specific, well-evidenced changes: consistent timing, light exposure, and a wind-down routine. Fix sleep first and the other two often become noticeably easier to address.
Self-help is an enormous industry, and every year we’re offered another formula for transforming ourselves. What makes your approach different, and what evidence is there that it can produce lasting change rather than the short burst of motivation people often get after reading a self-help book?
Most self-help sells motivation. Motivation is a mood, and moods pass. What I’m offering instead is a method: the same diagnostic, iterative process doctors are trained to use, which doesn’t depend on how inspired you feel on a given day. It assumes you will fail at points, and builds reassessment into the process rather than treating failure as proof the whole effort was doomed. Lasting change, in my clinical experience, comes from small, testable, personalised interventions rather than a single dramatic reinvention. That’s a much less glamorous story than the one the industry usually sells, but it’s the one that holds up over years rather than weeks. In addition, I offer documented medical research studies to substantiate every idea.
DR JOSEPH CRESPO
Not everyone is a reader or someone who would naturally pick up a self-help book. For those people listening to us today, what’s one simple thing they could start doing right now to make a positive change in their lives?
Pick one thing you do automatically every single day, and simply notice it for a week before you try to change anything. Don’t judge it, don’t fix it yet, just observe it the way a clinician observes a patient before making a diagnosis. Most people skip straight to changing behaviour without ever accurately understanding what they’re currently doing and why. That single week of honest observation is often the most useful health intervention I can suggest, and it costs nothing and requires no willpower at all.
Quick-fire questions
Favourite place to relax?
My home.
If you were Mayor of London for a day, what’s the first thing you’d change?
The institutionalisation of common sense, and an understanding that our individual rights end where others’ begin. Sadly, I see a growing number of entitled people imposing their views and beliefs, and condemning anybody who disagrees.
A restaurant you particularly love dining at?
Many, but if I have to choose one, Oliveto on Elizabeth Street, a proper Italian trattoria offering high quality food, friendly service, and a home feel environment. https://www.olivetolondon.uk/about
What has been the proudest moment of your life so far?
Every moment I made the decision to keep growing.
What motivates you to keep going when life gets difficult?
Difficulties are circumstantial, and overcoming them requires only a change in perspective. One thing that has helped me a great deal was when I stopped worrying about things which outcome I cannot change.
A labyrinth of talent, colour, diversity and a little bit of fabulousness
By Steven Smith
When I walk into an art exhibition, I feel rather like a kid entering a candy shop. I want to see everything, taste everything and discover something I haven’t encountered before. My thirst for something new, exciting and slightly unexpected is endless.
That is perhaps why FLUX and I get along so well.
Lisa Gray’s wonderful magazine, FLUX Review, never disappoints. It is one of those publications that feels luxurious before you have even turned the first page. Mine sits proudly on my coffee table — not tucked away on a bookshelf — because it is as much an object to admire as it is a magazine to read.
And Lisa’s exhibitions have that same quality.
Now in its 13th edition, the FLUX Exhibition has developed into far more than simply another London art show. There is an energy surrounding it. Artists, collectors, performers, personalities and people who simply love creativity come together, and somehow the evening manages to feel glamorous without becoming stuffy.
In fact, FLUX exhibitions have become so renowned that people apparently turn up without an invitation in the hope of getting inside.
Frankly, I can understand why.
This year’s exhibition, staged at 206 Marylebone Road in London, brought together the work of 70 artists, encompassing painters, sculptors and performance artists from a mixture of established and emerging talent.
But statistics don’t really tell the story of FLUX.
You have to walk through it.
There is something around every corner. One moment you are looking at an extraordinary painting; the next you are confronted by sculpture, textiles, portraiture or something you cannot immediately put into a category at all.
That is part of the fun.
From drag queens to the who’s who of the art and social world, the evening glistened with excellence, eccentricity and individuality. There was a sense that everyone was welcome and that creativity, rather than convention, was running the show.
And I love that.
FLUX has always championed diversity, and it doesn’t feel like diversity has simply been added to satisfy a fashionable checklist. Different people, backgrounds, artistic disciplines and perspectives genuinely seem to belong together here.
Of course, in an exhibition containing so many artists, everyone will discover their own favourites.
Everyone is a star, but inevitably some stars shine particularly brightly.
For me, one of those was Gregory John Ford, whose Snow leopard immediately caught my attention.
His sculptures made me stop — and that, in an exhibition packed with work competing for your attention, is an achievement in itself.
There is something contemporary, playful and slightly rebellious about his work. It has a new-age feeling without trying too hard to announce itself as “modern art”.
Yes, there are some skeletons in his collection.
Regular readers will know my feelings about skeletons in art. I have never understood the fascination and probably never will. I spend enough time trying to avoid becoming one without wanting one staring at me from the corner of the living room.
But put my skeleton prejudice aside and there is an artist here with genuine imagination. Amongst some brilliant work, his pieces made you stop, look again and want to know more.
That, surely, is what art is supposed to do.
Then there was René Porter, who positively slays the canvas with her incredible drag portraits.
These are not timid portraits.
They have glamour, personality, theatricality and attitude. You almost expect the subjects to step out of the canvas, demand a spotlight and ask why the champagne hasn’t arrived yet.
Looking at them made me think what a tragedy it is that the legendary Madame Jojo’s no longer exists. René’s work should be adorning the walls of some fabulous, slightly decadent nightclub where drag queens, performers and assorted creatures of the night hold court until the early hours.
There is something wonderfully celebratory about the portraits. Drag has always been about transformation, exaggeration, humour and, underneath all the glitter, tremendous artistry. René captures that spirit beautifully.
Another artist who made me pause was Tayo Ayelowo, whose textile work felt wonderfully refreshing.
Textiles can sometimes be overlooked when surrounded by traditional painting and sculpture, but here they held their own. There was texture, craftsmanship and a distinctive visual language that felt different from much of the work surrounding it.
And perhaps “different” is the word that kept returning to me throughout the exhibition.
FLUX doesn’t appear interested in presenting rows of artwork that all look as though they have been selected by the same person for the same white living room.
Instead, you find contrast.
The participating artists included Neil Ashton, Annette Aspen, Rina Bakis, John Carpenter, Stuart John Cashmore, Janet Cawthorne, Catarina Diaz, Marcela Olivia Dorantes, Marina Emphietzi, Richard Eveleigh, Bushra Fakhoury, Dawn Fincham, Michael French, Karin Jolly, Gwenda Jones, Greg Kent, Rachel Le Roux, Jamal Masarwa, Caia Matheson, Olga McClelland, Iryna Miro, Holly Nerreter, Gary Nicholls, René Porter, Usha Rajagopal, Nadiia Rom, David Studwell, Wei Keong Tan, Christine Terres and Kathryn Thomas, amongst many others.
It is an extraordinary roll call and illustrates the breadth of talent involved.
Collectors were also given another little incentive: anyone purchasing artwork at the exhibition received a complimentary artwork by Catarina Diaz valued at £200. A rather lovely touch — although, knowing me, I would probably arrive intending to look and leave wondering where on earth I was going to hang everything I had fallen in love with.
But FLUX isn’t only about buying art.
For me, the greatest pleasure is discovery.
We live in an age when so much of what we see is dictated by an algorithm. Our phones decide what we might like based on what we liked yesterday. Social media serves us more of the same, and eventually our visual world can become surprisingly small.
Walking around an exhibition such as FLUX is the antidote to that.
You can turn a corner and be confronted by something you would never have searched for, never expected to like and perhaps cannot even explain why you like.
Suddenly you are having a conversation with an artist whose work you had never seen before.
That is exciting.
Lisa Gray deserves enormous credit for continuing to create a platform where established artists can sit alongside emerging talent and where painting, sculpture, textiles, performance and portraiture can all share the spotlight.
Thirteen exhibitions in, it would be very easy to play safe.
FLUX does the opposite.
It remains colourful, inclusive, occasionally eccentric and gloriously unpredictable.
My mentions of Gregory John Ford, René Porter and Tayo Ayelowo are exactly that — personal shout-outs from a labyrinth of talent. Another visitor could walk the same rooms and come away with three completely different favourites.
And that is precisely the point.
Art should divide opinion. It should make you stop. Occasionally it should make you laugh. Sometimes it should make absolutely no sense to you whatsoever.
And every now and then, something should make you think: I need that on my wall.
The 13th FLUX Exhibition gave us plenty of those moments.
Lisa Gray has once again gathered together an extraordinary collection of people who aren’t frightened of being different, and created an exhibition where individuality is something to celebrate rather than tone down.
There was great excitement when, as a late birthday gift, my nephew took me to Marbella for five days.
We flew out with British Airways, and I came back on a codeshare flight operated by a Spanish airline called Vueling. Now, I have no complaints about the flight itself. Everything went perfectly well.
The same, unfortunately, cannot be said for my luggage.
There are certain things you expect to bring home from a holiday: photographs, memories, perhaps a few extra pounds around the waist and a vague promise that next time you’ll pack less.
What you don’t expect is for your suitcase to continue its European travels without you.
My luggage has now been missing since Saturday, and what began as an inconvenience has turned into a bizarre international mystery involving airports, telephone calls, automated updates and a suitcase that appears to have had a far more adventurous journey than I did.
The reference number, which I now know almost as well as my own telephone number, is LGWVY28092.
The bag was particularly important because I had been sharing it with my nephew, Matthew, who was due to fly to the United States shortly after we returned. His clothes were inside, along with mine. So this wasn’t simply a case of waiting patiently for a delayed pair of socks to turn up.
Then came the updates.
At one point, my luggage appeared to be in Paris Charles de Gaulle. Why Paris? Your guess is as good as mine. From there, I was told it was being sent to Barcelona before eventually — hopefully — making its way back to me in London.
Paris to Barcelona to London. My suitcase was practically Interrailing.
What has made the whole experience considerably worse, however, is the extraordinary difficulty in getting a clear answer from anyone.
I have telephoned. I have messaged. I have chased. I have watched the online tracking system with the dedication of an air traffic controller. I would love to be in Paris ,
Eventually, the status changed to the rather exciting announcement:
“Your piece of baggage has been located.”
Wonderful!
Except there was one small problem.
Where exactly had it been located?
Being told something has been “located” is not particularly reassuring when nobody can confirm where it physically is, whether it actually arrived in Barcelona, when it will be placed on a flight to London, or when it might finally arrive at my front door.
Each telephone call seems to produce another version of: “We are waiting for information.”
Meanwhile, my suitcase continues to exist somewhere in the mysterious world of international baggage handling.
My suitcase before its extended holiday .
There is, of course, a funny side. I have visions of it sitting beside a swimming pool in Barcelona, sipping sangria while I sit in London trying desperately to discover its whereabouts.
But underneath the humour is a serious point.
When airlines lose passengers’ belongings, communication matters enormously. People may have medication, work clothes, sentimental possessions or valuable items inside their cases. A computer-generated message saying a bag has been “located” simply isn’t enough after days of uncertainty.
Passengers deserve to know what is happening to their property.
So, as I write this, the great suitcase saga continues.
Somewhere between London, Paris and Barcelona is one extremely well-travelled piece of luggage that belongs to me.
If anyone sees it, could you possibly tell it that its holiday is over?
Steven would quite like his clothes back.
P.S. The latest piece of “help” from Vueling Airlines was the suggestion that I call Barcelona Airport myself and see if I can find my luggage.
You really couldn’t make it up.
UPDATE: THE SUITCASE FINALLY COMES HOME!
Now for an update on my luggage.
After around ten more phone calls — yes, I am like a dog with a bone — there was finally some good news.
Now, the people at Vueling Airlines are actually very charming. You are given the choice to speak to them in English or Spanish and, even as they told me that no one could find my luggage in Barcelona but that they would keep trying, there was always the cheerful: “Is there anything else I can help you with?”
I have to admit, the latter did begin to irritate me slightly. YES — FIND MY SUITCASE!
Eventually, on Friday, six days into my suitcase’s extended stay in Barcelona, there was good news: it had been found!
However, it still wasn’t showing on the system the following morning, so naturally I called again. Yes, apparently it was on its way back to Gatwick, although no one seemed quite sure exactly when. They estimated somewhere around 12:45.
I called again later and there was still no confirmation that it had actually landed.
Then, at around four o’clock on Saturday, I received a text from Eagle Aviation, who were going to deliver my luggage.
There was an odd delivery time showing, so I emailed them. They told me they hadn’t actually received the luggage yet, so I was safe to go out.
The following morning it was much the same story. At around 11am, I was told that perhaps it would be in the 12:30 batch they were expecting, but they couldn’t confirm it.
So, safe in the knowledge that my suitcase was apparently still nowhere near my front door, I headed off to Chelmsford to see my great friend Aston Avery, who had been nominated at the Make a Difference Awards. I reckoned I could easily be home by six.
There I was, sitting next to Anna Kennedy OBE — who, I should point out, did forgot to share her Skittles however provided me with some great popcorn Thank-you — when at around 3:45pm my phone started buzzing.
“Your luggage will be delivered today between 16:42 and 18:42.”
AN HOUR’S NOTICE!
Luckily, it was towards the end of the show, so I legged it. And no wonder I have a hernia now!
Somehow, I made it back home by 5:30pm.
At 5:55pm, the call finally came.
Could I come downstairs and be reunited with my luggage?
Apparently, they don’t bring it to your actual door.
And there it was. After eight days missing in action, several countries, countless telephone calls and considerably more stress than any suitcase deserves to cause, we were finally reunited.
I am going to do exactly what my nephew told me to do in the first place and buy an Apple AirTag. I also now have the pleasure of posting my nephew’s belongings back to the USA!
On the upside, in nearly 50 years of travelling, this is the first time anything like this has happened to me. The actual flight with Vueling was very good, and the cabin crew were professional, smart and charming. So I’m going to put the whole thing down to very bad luck — or perhaps Malaga Airport!
Would I fly with Vueling again? Yes, I probably would.
Would I ever travel without an AirTag again?
ABSOLUTELY NOT.
As for my luggage, it is very happy to be home.
Although after its unexpected European adventure, it is now telling me that it needs a spa day.
By Dr Anna Kennedy OBE – Guest Writer for 2Shades Magazine
Anna Kennedy Obe
There are some places that instantly remind you just how much kindness still exists in the world, and Kilmarnock Horse, Pony and Donkey Rescue in Sussex is certainly one of them.
Recently, I had the pleasure of catching up with the wonderful Carol Jackson, founder of this remarkable sanctuary, where I have proudly served as Patron since 2015. Every visit leaves me inspired, not only by the incredible work being done but by the dedication, resilience and compassion shown by Carol and her amazing team.
For more than 26 years, Carol has devoted her life to rescuing animals that have been abandoned, neglected, mistreated or simply forgotten. It is a commitment that never stops. Every single day brings new challenges, yet her determination to give vulnerable animals a second chance has never wavered.
Walking around the sanctuary is a truly humbling experience. Horses, ponies, donkeys, goats, sheep and alpacas all live peacefully together, each with their own story. Many have suffered unimaginable hardship before finding safety, while others arrive elderly, frightened or in poor health. Thanks to Carol and her volunteers, they are given exactly what every living creature deserves—care, dignity, kindness and, above all, love.
Not every animal can be rehomed. Many spend the rest of their lives at the sanctuary, where they receive the specialist care they need in a safe and nurturing environment. Watching these beautiful animals thrive after everything they have endured is incredibly moving and a reminder of the difference that compassion can make.
Like so many charities across the country, however, Kilmarnock Horse, Pony and Donkey Rescue is facing increasingly difficult times.
This year’s lack of rainfall has had a significant impact on grazing land, leaving very little natural grass for the animals. As a result, the sanctuary has had to purchase far more hay than usual, and with rising costs, the financial pressure continues to grow.
Carol with some of the donkeys
Alongside these challenges comes uncertainty surrounding the future of the land and its lease. For any charity, that uncertainty can be deeply worrying, especially when so many animals rely on the sanctuary every single day. It highlights just how vital fundraising and public support have become.
Despite everything, what always impresses me most is Carol’s unwavering spirit.
She doesn’t complain. She simply gets on with the job because the animals need her. That quiet determination is something I admire enormously. She understands that every horse, every donkey and every rescued animal depends on the sanctuary, and she never loses sight of why she began this journey over two decades ago.
Of course, Carol could never achieve all of this alone.
The sanctuary is supported by an incredible team of volunteers who generously give their time, energy and compassion. During my visit I met a lovely young woman who spends her holidays volunteering while studying to become a veterinary surgeon. Seeing young people choosing to dedicate their free time to helping vulnerable animals gives me great hope for the future. Acts of kindness like these remind us that compassion is alive and well, and that the next generation is ready to make a difference.
As many of you know through my work with Anna Kennedy Online, I have always believed that communities become stronger when people come together to support one another. Whether we are helping autistic individuals and their families, supporting vulnerable people, or caring for rescued animals, the message is exactly the same—every life matters and everyone deserves kindness, respect and the opportunity to flourish.
That is why I am so proud to be Patron of this wonderful charity.
If you are able to help, no matter how small the contribution, it really can make a world of difference. Carol is currently asking supporters to visit the Kilmarnock Horse Rescue Facebook page, as the charity’s website is being updated. There are many ways to become involved. You might choose to make a donation, volunteer your time, help with fundraising, or even adopt one of the sanctuary’s elderly residents from as little as £5 a month.
Every pound raised helps provide food, shelter, veterinary care and a secure future for these beautiful animals. Your support allows Carol and her dedicated volunteers to continue giving hope where it is needed most.
I would like to thank Carol personally for everything she has done over the past 26 years. Her kindness, resilience and unwavering commitment are truly inspiring. Every time I visit the sanctuary, I leave feeling uplifted, and I always enjoy our conversations as much as meeting the wonderful animals in her care.
It remains an honour to serve as Patron of Kilmarnock Horse, Pony and Donkey Rescue, and I hope that by sharing their story, more people will discover this very special sanctuary and help secure its future for generations to come.
As someone who has spent many years interviewing artists, actors, musicians and creative minds from around the world, it felt both exciting and slightly surreal to find myself on the other side of the questions.
I am absolutely delighted to be featured in the latest edition of FLUX Review, one of the UK’s most beautifully produced independent arts and culture magazines. The interview gave me the opportunity to reflect on my own journey through journalism, broadcasting and publishing, while sharing my lifelong passion for art and the incredible people I’ve been fortunate enough to meet along the way.
Art has always fascinated me because it speaks a universal language. It can inspire, challenge, comfort and bring people together regardless of background or circumstance. Throughout my career I have been privileged to interview emerging artists as well as internationally recognised names, and every conversation has reinforced my belief that creativity has the power to change lives.
In the interview I also discuss the importance of championing new talent through 2Shades Magazine, my work with Anna Kennedy Online, and why giving creative people a platform has always been one of the most rewarding aspects of my career.
A huge thank you must go to Lisa Gray, founder and editor of FLUX Review, for such a thoughtful and engaging interview. Under her guidance the magazine has become a respected showcase for artists, photographers, designers and writers from across the globe. Every issue is packed with inspiring features, outstanding photography and exceptional artwork, making it a publication to treasure rather than simply read.
If you would like to discover more about my story, my love of art and the people who have inspired me throughout my career, I hope you’ll pick up a copy. Alongside my interview you’ll find nearly 200 pages celebrating creativity in all its forms.
The latest edition of FLUX Review is available now from the official online store:The FLUX Review Store. Happy reading—and thank you, as always, for your continued support.
2Shades Magazine 