Mike Edde tells you how to get the look this fall they are all talking about.
When Erling Haaland decided to say goodbye to his famous long blond hair and reveal a dramatically short buzz cut, he certainly got people talking. It is a huge change from the Viking-style ponytail we have become used to seeing, but it is also one of the easiest men’s looks to recreate.
So, if you are tempted to follow Haaland and go for the chop this autumn, here is how to do it — and, just as importantly, how to grow it back out when you are ready for another change.
The first thing I would say is: don’t just tell your barber to shave it all off! Haaland’s look might appear incredibly simple, but you still want the cut to work with your head shape, hairline and hair density.
Ask for a very short, even buzz cut, approximately a grade one or two. Your barber can advise whether going slightly longer would be more flattering for you. The beauty of this haircut is that it is clean, masculine and incredibly low maintenance. There is virtually no styling involved — you can wash it, dry it and go.
However, the shorter the hair, the more noticeable the regrowth becomes. If you want to keep that freshly cut Haaland appearance, I would recommend having it tidied approximately every two to four weeks. Keeping the neckline and edges neat makes all the difference.
And remember your scalp. Once you remove longer hair, an area of skin that has been protected is suddenly much more exposed. Use a gentle shampoo, avoid piling on unnecessary styling products and, even during autumn, think about SPF if your scalp is exposed to the sun.
What happens when you want your long hair back?
This is where patience comes in.
Hair generally grows around a centimetre or so each month, although everybody is different. The biggest mistake men make when growing out a buzz cut is simply abandoning the barber altogether.
Instead, have small maintenance trims while allowing the overall length to develop. Your barber can gradually reshape the hair as it grows, keeping the back and sides under control while allowing more length through the top. This prevents that awkward stage from looking quite so awkward!
As it becomes longer, start introducing a lightweight conditioner to keep the hair healthy and manageable. Avoid excessive heat and heavy styling products, and don’t be tempted to keep cutting it back every time it reaches an annoying stage.
If your eventual goal is Haaland’s old long-haired look, you are playing the long game. Once it reaches sufficient length, you can begin wearing it swept back before eventually progressing to a low ponytail or bun.
So, could you brave the Haaland buzz cut?
I say if you have been thinking about going dramatically shorter, autumn is the perfect time to try it. Hair grows back — and sometimes a completely different look is exactly what we need.
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.
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
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.
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.
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.
Dr Anna Kennedy OBE artist Matthew Bucko and newest Patron of the charity award winning writer Samantha Lee Howe at Autism &Art
Autism & Art 2026 Opens to Packed Gallery and Inspiring Celebration
There was a wonderful atmosphere at the Firepit Art Gallery on Thursday 23 July as visitors packed the venue for the official opening of Autism & Art 2026, an inspiring exhibition celebrating the extraordinary creativity of autistic artists and their families.
Now in its second year, the exhibition has quickly established itself as one of the highlights of the Anna Kennedy Online calendar. More than simply an art exhibition, Autism & Art provides a platform for autistic creatives to showcase their talents, tell their stories and demonstrate that art has the power to break down barriers, challenge misconceptions and bring people together.
The exhibition also raises vital funds for Anna Kennedy Online (AKO), the charity founded by Dr Anna Kennedy OBE, which has spent more than two decades campaigning for greater understanding, inclusion and opportunities for autistic people and those with learning disabilities.
Opening the evening, Dr Anna Kennedy OBE welcomed guests and reflected on just how far the event has come in only two years.
“When the idea was first suggested, I remember thinking, ‘Can this really be done?’ But then someone reminded me that’s exactly what people said when we launched Autism’s Got Talent and so many of our other events. Seeing this become such a success for a second year makes me incredibly proud.”
The Firepit gallery before the crowd .
Joining Anna was the charity’s newest patron, bestselling and award-winning author and screenwriter Samantha Lee Howe, who had travelled down from Yorkshire especially for the evening. Samantha spent time meeting the artists, chatting with guests and hosted the evening’s popular charity raffle, bringing her trademark warmth and enthusiasm to the event.
The entertainment was every bit as impressive as the artwork. Singer-songwriter Lana Mitchell captivated the audience with a beautiful performance that perfectly complemented the creative atmosphere of the evening. Lana is not only a talented musician but also an accomplished artist, with her artwork featured in the exhibition. One of her pieces has previously been purchased by beloved ‘Allo ‘Allo! actress Vicki Michelle MBE, highlighting the quality of her artistic talent.
Adding even more energy to the evening was George Pond, one of the stars of Autism’s Got Talent, whose powerful performance had the audience cheering and demonstrated once again why he has become such a popular performer within the autism community.
George Pond brought the house down with his performance.
The charity auction was hosted by television presenter, author and passionate animal welfare campaigner Wendy Turner Webster, who was accompanied by her husband, actor Gary Webster. Together they brought humour and warmth to proceedings while helping to raise valuable funds for Anna Kennedy Online.
One of the exhibition’s greatest strengths is the incredible diversity of the artists taking part. Visitors were treated to an exciting mix of painting, sculpture, mixed media and contemporary artwork, each piece reflecting a unique perspective and personal story.
Lisa Allen from Pink Ribbon was on hand with me Steven Smith ,Ayesha Baig Oracle Magazine Juliet Morrison from Pink Ribbon and model Brigitte Suligoj
Among the featured artists was Matthew “BUCKO” Buckingham, who travelled to London to exhibit his work. Matthew is a contemporary multidisciplinary artist whose increasingly transdisciplinary practice combines contemporary art, visual communication, autism advocacy and inclusive design. Through portraiture, printmaking and the development of an autistic visual language, his work explores autism, identity and social inclusion. Drawing on his own experiences as both a neurodivergent artist and a father, his artwork challenges misconceptions surrounding autism while promoting understanding, acceptance, equality and inclusion. His thought-provoking work attracted considerable interest throughout the evening.
Art By Bucko
Also making the journey from Wales was artist Josh, whose distinctive artwork continues to earn admiration for its originality and creativity. His contribution added another exciting dimension to an already varied exhibition.
Wendy Turner Webster with Lana
Returning for a second consecutive year was the hugely popular Blaster Artz, whose legendary Blanky sculptures once again proved to be one of the talking points of the exhibition. Their instantly recognisable style drew crowds throughout the evening, with collectors eager to secure one of the much-loved creations. Just as they did last year, the sculptures proved to be an outstanding success.
The invasions of the Blanky hugely popular art made a return for a second year.
The exhibition also featured work from an impressive range of talented artists, including Emily Haynes (ShadyShadz), whose fantastical creatures and nature-inspired artwork captured the imagination of visitors; David Downes, whose detailed work reflects both technical skill and emotional depth; Dr Diana Dunca, whose vibrant creativity celebrates individuality and expression; Heidi Simm, whose colourful pieces offered warmth and optimism; Naz, whose distinctive artistic style drew plenty of attention; XLVII, whose contemporary work encouraged conversation and interpretation; and Daisy, whose artwork demonstrated creativity, imagination and confidence. Together they showcased the extraordinary diversity of autistic artistic talent currently flourishing across the UK.
The evening would not have been possible without the support of Marcus Jake, owner of the Firepit Art Gallery, who once again opened his unique venue for the exhibition.
Speaking during the evening, Marcus said he was delighted to host Autism & Art for a second year.
“I’m thrilled that we’ve been able to bring everyone together again. The standard of work is exceptional, and it’s wonderful to see so many people discovering these incredible artists.”
Art by Josh
The Firepit Art Gallery itself deserves special mention. Unlike many traditional galleries, it offers an intimate, welcoming environment where visitors are encouraged to slow down, reflect and truly connect with the artwork. It feels less like a conventional gallery and more like a creative sanctuary—a place where artists are celebrated and everyone feels welcome.
Acting Royalty Gary Webster meets Art Royalty Alistair Blaster
Adding to the exhibition’s significance were two very special contributions. Harvey Price, whose artistic talent has inspired many people, had artwork on display that attracted considerable interest from visitors throughout the evening. His participation highlighted the importance of providing creative opportunities for autistic artists of every background and profile. Also exhibiting was acclaimed artist John Lee Bird, whose distinctive work has earned admiration for its originality and expressive style. His contribution further strengthened an already exceptional collection of artwork and demonstrated the remarkable breadth of talent showcased throughout Autism & Art 2026.
Dez Loveartpix continues to make a powerful impression with his vibrant and thought-provoking artwork. Following his recent feature in FLUX Review magazine, Dez’s growing reputation as a creative force highlights the talent and diversity of autistic artists making their mark on the contemporary art scene.
As guests mingled throughout the evening, there was a genuine sense of pride, friendship and community. Conversations flowed easily between artists, collectors, families and visitors, many of whom were attending an autism-focused exhibition for the very first time. Events such as Autism & Art do far more than display beautiful artwork—they create understanding, open minds and provide opportunities that many autistic artists have historically found difficult to access.
Dez Loveartpix
If the opening night is anything to go by, Autism & Art 2026 is an outstanding success. The exhibition continues throughout most of August and is highly recommended for anyone with an interest in art, creativity or simply discovering something different.
Whether you are an experienced collector, a casual visitor or someone wanting to support autistic artists, this is an exhibition not to be missed. You will leave inspired by the remarkable talent on display and reminded that art truly is a universal language.
Once in a while comes something that is an unexpected delight
Who has not become a huge fan of Diane Morgan in Motherland and Mandy
Wonderful writer and actress animal rights activist . News of her new sitcom BBC’’s Ann Droid did make me think is this the end of the run for her. The plot sounded vauely famillair and might be a one stand joke even with the incredible Sue Johnston in it the trailer left me a little cold .
But how wrong can I be Diana Morgan has produced one of the funniest poignant and beautifully crafted comedy features to date .
The first episode just sets the tone and to be honest it is a slow start Morgan plays Android Linda after Sue Johnsons charcters sister and I was still not sold on it half way through , But then what could easlily be a corny ride a journey of lonless ness old age and life has you not just shed a tear it has you ironically in fits of laughters .
Ann Droid is a beautiful look at humans as we age but manages to bring issues of how families manage with the edelry and do we ever really go far from the play ground
Paul Ready as Sue’ son Michael plays yet another down trauden man desperate to find his mascuilnty it is possibly the week part of the show as you just want to slap him but his comic timing and acting is seemless just be nice to see him play something less sumbimsive Kathry Hunter is the cherry on the cake in this gem and steels every scene she in
The wonderful thing about the six episode is not just I could not stop watching . I complain that sometimes comedy gems should stop at one or two like Faulty towers honestly I wanted more as It ended .
Ann Droid is warm, witty, heartfelt and quietly profound. It proves that the very best comedy doesn’t just make us laugh—it makes us think, feel and perhaps look at ourselves a little differently. Diane Morgan has once again reminded us why she is one of Britain’s finest comedy talents.
★★★★★
Ride or Die – Amazon Prime ★★★☆☆
Hannah Waddingham once had a drama teacher tell her she would never work on screen.
How wonderfully wrong they were.
I first met Hannah when she was appearing in the stage production of Joey and Gina’s Wedding, and even then she had star quality written all over her. Since then she has become one of Britain’s most versatile performers, equally at home in comedy, drama and musical theatre.
In Ride or Die, she completely owns the screen as Judith, a glamorous and deadly hitwoman. Alongside her is the ever-brilliant Octavia Spencer as Debbie, an ordinary American wife married to a British MP. Together they have genuine chemistry. They’re very much the Thelma and Louise of 2026, and whenever they share the screen the series springs into life.
It’s just such a shame that they’re trapped in this turkey of a show.
The idea itself isn’t a bad one. A high-octane action comedy built around two very different women thrown together has enormous potential, and at times you can almost see the series it wanted to become. Waddingham throws herself into the role with real commitment, looking every inch the sophisticated action heroine. Her wardrobe alone deserves its own credit, and there’s more than a hint that the producers are trying to create a female James Bond.
Octavia Spencer is, as always, effortlessly likeable. She brings warmth, humour and vulnerability to Debbie, making her the emotional heart of the series. When the two actresses are together, the show crackles with energy and wit. You find yourself wishing every scene involved just the pair of them.
Sadly, the plot lets them down at almost every turn.
What begins as an entertaining premise quickly becomes an overly complicated and increasingly implausible tangle of twists, double-crosses and unlikely situations. Instead of building suspense, it becomes confusing and, ultimately, rather boring. It almost feels like a slap in the face to viewers who simply want a smart, well-written thriller with believable stakes.
Perhaps things improve later on, but I have to be honest—I gave up after two episodes. That’s something I rarely do, especially when the cast is this talented.
What a wasted opportunity. Hannah Waddingham and Octavia Spencer deserved material worthy of their considerable talents. Give these two actresses a stronger script and a sharper writer, and they could have had an absolute smash on their hands.
Instead, Ride or Die ends up being a stylish series with two wonderful performances that simply can’t overcome a story that loses its way.
My friends know just how much I love art. Over the years I’ve had the privilege of interviewing and writing about many incredibly talented artists, from those just beginning their creative journey to internationally recognised names. Art has always fascinated me because it has the power to tell stories, challenge perceptions and connect people in ways that words sometimes can’t.
That is why it was such a genuine honour to find myself on the other side of the interview, being featured in the stunning FLUX Review magazine. It felt rather surreal to be talking about my own journey, my passion for creativity and the wonderful people I have been fortunate enough to meet along the way.
Edited by the incredible Lisa Gray, FLUX Review is far more than just another magazine. It is a beautifully produced publication that celebrates artists, photographers, designers and creative thinkers from around the world. Every edition is packed with inspiring interviews, breathtaking imagery and thought-provoking features. It is one of those rare magazines that you don’t simply read—you keep, return to and proudly leave on your coffee table.
I would like to say a heartfelt thank you to Lisa for such a thoughtful interview and for all the support she gives to artists and the wider creative community. Her passion shines through every page, and it is easy to see why FLUX Review has become so highly respected.
If you’d like to know a little more about me, my work and what inspires me, I hope you’ll pick up a copy. At the same time, you’ll be discovering an exceptional magazine that champions creativity in all its forms. In a world where so much is viewed on a screen and quickly forgotten, there is something wonderfully special about holding such a beautifully produced glossy publication in your hands.
I hope you enjoy reading it as much as I enjoyed being part of it. Thank you, as always, for your continued support—it means more than you know.
Steven Viewz
“If you see something that doesn’t look right, please let us know.” It’s a phrase constantly blasted out across the London Underground. My question is… where would you like me to start?
The Tube during this recent heatwave has been nothing short of a nightmare. If the lack of air conditioning doesn’t finish you off, someone—who really should know better—forgets to carry a bottle of water, faints, and has to be helped off the train. Naturally, that means the whole line grinds to a halt while the rest of us sit there slowly cooking in what feels like a giant metal sauna.
What I simply cannot understand is this: Lisbon regularly reaches temperatures far higher than London, yet their transport system seems to cope perfectly well. We get a few days of sunshine, and the capital appears to melt faster than an ice cream on Brighton Pier. Surely, in 2026, we can do better.
Now for my second moan!
Can we please introduce a law banning people from staring at their phones while walking? Honestly, the number of people wandering around completely oblivious to everyone else is unbelievable. They drift from side to side like shopping trolleys with a wonky wheel, stop dead in the middle of busy pavements, and then look surprised when they walk straight into someone. If Andy Burnham can champion common sense in Manchester, perhaps Sir Sadiq Khan could start a campaign here. My solution? A gentle public awareness campaign first—and if that doesn’t work… maybe a few fines! It might just encourage people to look up once in a while.
Finally, on a much happier note, I’m really looking forward to the Autism & Art Show, taking place on Thursday 23rd July from 5.30 pm. It’s a wonderful evening celebrating the incredible talents of autistic artists, and I’m proud to be involved once again. If you’re able to come along, please do pop over and say hello. It would be lovely to see some familiar faces and support such an inspiring event.
Until next time… keep cool, keep looking where you’re going, and if you really do see something that doesn’t look right—well, perhaps start with the Tube!
IT’S JUST LIKE A PRAYER FOR MADONNA FANS … BUT GRAHAM NORTON DOESN’T TAKE YOU THERE
By Steven Smith
There are few chat show hosts in the world who can match Graham Norton when it comes to creating entertaining television. For well over a decade, The Graham Norton Show has been essential viewing, bringing together Hollywood royalty, music legends, comedians and sporting icons on one famous sofa. His effortless charm, quick wit and ability to make even the biggest stars relax have earned him a loyal audience and countless awards.
The format is brilliantly simple. Big personalities gather together, stories are exchanged, laughter follows, and viewers feel like they’re eavesdropping on an exclusive dinner party. It works because Norton never tries to dominate the conversation. Instead, he gently nudges it along, allowing his guests to bounce naturally off one another.
However, there is one important distinction.
Norton is a superb chat show host.
He is not an in-depth interviewer.
Unlike Oprah Winfrey, Louis Theroux or the late Sir Michael Parkinson, Graham rarely pushes beyond entertaining anecdotes and witty conversation. He seldom asks the difficult follow-up questions or explores the emotional experiences that have shaped the people sitting opposite him.
Unfortunately, that weakness became painfully obvious in what the BBC heavily promoted as one of television’s biggest interviews of the year: Graham Meets Madonna.
The Interview That Never Quite Begins
As a lifelong Madonna fan, I couldn’t wait to watch it.
Madonna remains one of the most fascinating figures in popular culture. Over four decades she has reinvented herself more successfully than perhaps any artist in history. Behind the global superstar lies an intensely private woman who has experienced extraordinary success, devastating personal loss, family conflict and relentless public scrutiny.
Surely this was the opportunity to finally meet the woman behind the icon.
Sadly, it wasn’t.
The programme opens with Graham Norton sitting in the back of a classic London taxi.
“I always get nervous when meeting Madonna,” he admits.
It’s an honest opening, but it also establishes the tone. Rather than appearing like an experienced broadcaster preparing to interview one of the world’s biggest stars, Norton almost feels like a fan about to meet his hero.
From the outset, it becomes clear that either the production team—or perhaps Madonna’s own management—have tried far too hard to make this landmark interview feel different.
Instead of simply sitting two intelligent people down for an honest conversation, viewers are taken through a series of carefully staged moments that never quite work.
One particularly awkward sequence sees Graham climbing to the top of an empty theatre before dramatically looking down onto the stage, where Madonna slowly emerges under the spotlight like an apparition. He then races down the stairs to greet her with all the excitement of a teenager meeting their idol.
Rather than feeling cinematic, it simply feels forced.
Where’s the Real Madonna?
Madonna has always been something of an enigma. Friends and collaborators frequently describe her as warm, witty and possessing a wonderfully dry sense of humour, yet that side of her rarely appears during television interviews.
This was Graham Norton’s golden opportunity.
Instead of discussing costumes, boots and backstage stories, he could have explored the remarkable woman behind one of music’s greatest careers.
Instead, the opening conversation drifts aimlessly.
In fact, Madonna often asks Graham more questions than he asks her.
They wander around the theatre chatting about boots, stolen clothes from Coachella and nostalgic memories, almost like two dinner guests waiting for their table to become available.
You keep expecting the interview to begin.
It never really does.
At times, Madonna herself appears visibly bored.
Stuart Price Steals the Show
Stuart Price a welcome relief with Madonna
Thankfully, the programme briefly comes alive when Graham and Madonna head upstairs to meet legendary producer Stuart Price, the creative force behind Confessions on a Dance Floor and Madonna’s latest musical project.
Ironically, this becomes the documentary’s strongest section.
Price discusses Madonna’s perfectionism, her musical instincts and her relentless pursuit of excellence. As he plays tracks from the forthcoming album, viewers are finally given a genuine glimpse into how one of the world’s greatest pop stars creates her music.
It’s fascinating television.
In truth, Stuart Price provides more insight into Madonna in ten minutes than Graham Norton manages throughout the rest of the programme.
Still Waiting for the Questions
One exchange perfectly captures the imbalance between interviewer and interviewee.
“Why do you have to know everything?” Madonna jokes.
It’s a line that amusingly echoes Julie Walters’ famous quip on The Graham Norton Show: “Leave me alone!”
Norton laughs before replying,
“It’s a chat show.”
Except, with Madonna, it never quite becomes one.
Instead of taking control, asking meaningful follow-up questions or steering the conversation into more revealing territory, Graham remains slightly starstruck throughout.
The next stop is a bar.
By this stage, the audience probably deserves a drink too.
Waiting behind the bar is another surprise guest—Kylie Minogue.
For many LGBTQ+ viewers, seeing Kylie and Madonna together is genuinely enjoyable. Graham excitedly declares, “I’m in gay heaven!”
It should be one of the funniest moments in the programme.
Instead, it feels heavily rehearsed.
The chemistry simply isn’t there.
A Missed Opportunity
Perhaps the most telling moment comes when Madonna looks directly at Graham and asks:
“When are you going to start asking me questions?”
“I have been,” Graham replies while swapping drinks with her.
The problem is…
He really hasn’t.
Most of the questions remain stubbornly on the surface.
There are countless fascinating areas of Madonna’s life that receive little or no attention: her battles with ageism, motherhood, spirituality, surviving four decades in an industry that constantly writes women off after forty, and the loneliness that often accompanies global fame.
Instead of meaningful exploration, viewers are offered snippets rather than substance.
One particularly frustrating moment briefly touches upon the death of Madonna’s younger brother, Christopher Ciccone. For a split second, it feels as though the documentary is finally about to reveal something deeply personal.
Then the moment disappears almost as quickly as it arrived.
Whether that decision came from Madonna herself or her management, we’ll probably never know.
Either way, it leaves viewers wanting much more.
The Verdict
Of course, it’s impossible to ignore the programme’s real purpose.
This is ultimately a promotional vehicle for Madonna’s new music.
There are some genuinely wonderful archive photographs from her early days performing at New York’s legendary Danceteria nightclub, reminding viewers just how extraordinary her journey has been.
Visually, Madonna looks fantastic—confident, elegant and entirely comfortable in her own skin. She remains every inch the cultural icon she has always been.
Which makes it even more disappointing that the programme never truly matches its subject.
Rather than trying so hard to create quirky television through staged walks, surprise guests and theatrical entrances, a simple sit-down interview may well have produced something far more memorable.
Sometimes, less really is more.
Madonna has given exceptional interviews before. Her legendary conversation with Ruby Wax in Paris remains one of the finest celebrity interviews ever recorded because Wax wasn’t afraid to challenge her while allowing humour and vulnerability to emerge naturally.
More recently, her thoughtful discussion with Jay Shetty revealed another side of Madonna—reflective, intelligent and surprisingly open. It proved that, when asked the right questions, she is still willing to reveal the woman behind the myth.
Sadly, Graham Meets Madonna never reaches those heights.
That’s not because Madonna isn’t interesting.
Far from it.
It’s because Graham Norton never quite takes us where we wanted to go.
For fans, there is still enough to enjoy. Seeing Madonna revisit her past, hearing Stuart Price discuss her music and watching two entertainment giants share the screen certainly has its appeal.
But what could have been the definitive Madonna interview ultimately settles for pleasant conversation.
Like one of Madonna’s greatest songs, it promises revelation.
Unlike Like a Prayer, however, it never quite takes you there.
2Shades Magazine 