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ART ATTACK

Nelly K at the Firepit https://www.firepit.art


Healing through art Steven Smith chats to Nelly K

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.

Nelly at the Firepit https://www.firepit.art

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

https://www.firepit.art

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Anna Kennedy’s September Column

Hi everyone!

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:

PLEASE BECOME A SPONSOR FOR AUTISM’S GOT TALENT

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.

You can get your tickets here:

Autism’s Got 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
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THE 13TH FLUX EXHIBITION 2026

By Steven Smith

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.

Roll on number fourteen.

Steven Smith

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Steven’s in FLUX REVIEW magazine

Talking Life, Art and Creativity with FLUX Review

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.

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Oh What a Night!

Steven Smith looks at “Autism & Art show 2026 ”

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.

For more information about the exhibition, visit:
https://2shadesmagazine.com/2026/06/01/calling-all-autistic-artists-submissions-now-open-for-the-second-autism-art-show-2026/

your reporter Steven Smith patron of Anna Kennedy on line .

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CALLING ALL AUTISTIC ARTISTS: SUBMISSIONS NOW OPEN FOR THE SECOND AUTISM & ART SHOW 2026

CALLING ALL AUTISTIC ARTISTS: SUBMISSIONS NOW OPEN FOR THE SECOND AUTISM & ART SHOW 2026

Following the overwhelming success of its debut event, The Autism & Art Show returns for a second inspiring year, opening on 23rd of July 2026 at the much-loved Firepit Art Gallery, London — and organisers are now calling for autistic artists across the UK to submit their artwork for inclusion.

Screenshot

Presented by Anna Kennedy Online, in collaboration with Firepit Art Gallery, the exhibition celebrates the extraordinary creativity, individuality and talent of autistic artists and their allies, while helping raise vital funds to support the charity’s ongoing work with autistic people and their families.

For many people on the autism spectrum, art is far more than a hobby — it is a powerful form of self-expression, communication and therapy. Through creativity, artists can tell stories, explore emotions and connect with others in meaningful and inspiring ways.

Anna Kennedy OBE, charity patron Steven Smith, and Firepit Gallery founder Marcus Jake are inviting autistic artists to step forward and showcase their work as part of this unique and uplifting exhibition.

Anna Kennedy OBE and some of the team behind Autism &Art Patron Steven Smith Artist and celebrity photographer Anne-Marie Bickerton and Alistair Blaster

“Art has the power to give a voice to feelings, experiences and perspectives that words alone sometimes cannot express,” said Steven Smith. “We are incredibly proud to celebrate neurodiverse creativity and encourage autistic artists to share their talent with the public.”

The Autism & Art Show promises to be a vibrant celebration of creativity, resilience and individuality, showcasing an exciting tapestry of work from autistic artists from all walks of life. Each artist brings a unique story and artistic voice, making this exhibition a moving tribute to the richness of neurodiverse talent.

Event Location:
Firepit Art Gallery CIC
No.2 Upper Riverside,
10 Cutter Lane, Ground Floor Unit,
Greenwich Peninsula,
London SE10 0XX

Artists interested in submitting work or learning more about the exhibition are encouraged to get in touch and be part of this very special event.

Closing date for entries July the 20th

Contact Steven Smith at spman@btinternet.com

Or 07969106222 for more details. 

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one of the artists on show Dez LoveArtPix one of the charity Patrons .
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Please help 2Shades keep going for another year .

https://gofund.me/7a5217480

Please help 2shades

The interest in 2Shades continues to grow from strength to strength. We have not only given a platform to new talent, but also created a vital space for charities and voices that are not always heard.

As you may know, I do not make any money from 2Shades. With my wonderful partner Adishri now back in India, I have been holding the fort alone and dedicating many hours to keeping the magazine going.

We are actively looking for advertisers, sponsors, or a potential partner. However, the time has come to cover our renewal costs. If you have enjoyed the magazine, we would be truly grateful for any contribution towards next year’s expenses.

With your support, we hope that over the coming year we can secure a partner or advertisers to help sustain and grow 2Shades.

With love,
Steven

https://gofund.me/94a9c37e.

https://gofund.me/94a9c37e3

2Shades Magazine

2Shades Magazine is a United Kingdom–based online lifestyle and culture publication. It highlights diverse voices in fashion, art, entertainment, and social issues, emphasizing inclusivity and modern creative expression. The magazine serves as a digital platform for emerging and established talents across multiple disciplines.

Key facts

Country: United Kingdom

Medium: Online magazine

Focus areas: Fashion, arts, culture, lifestyle, social commentary

Audience: Global readers with interest in creative industries

Format: Digital features, interviews, and visual editorials

Origin and mission

Founded to amplify underrepresented perspectives, 2Shades Magazine positions itself as an inclusive alternative to mainstream fashion and culture outlets. It encourages dialogue around identity, creativity, and representation while offering editorial space to artists, models, and thinkers often overlooked by traditional media.

Content and style

The publication blends long-form features, interviews, and curated photography with a strong visual aesthetic. Its content typically explores themes of diversity, self-expression, and the intersections of culture and identity. The magazine’s digital format allows it to showcase immersive visuals and multimedia storytelling.

Cultural relevance

2Shades Magazine has become part of a broader wave of independent digital publications redefining UK media through inclusivity and innovation. By championing new talent and challenging conventional narratives, it contributes to a more representative cultural landscape within and beyond Britain.

https://www.gofundme.com/f/keep-2shades-going

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Blanky meets Pink Ribbon

https://www.kellyreeves-photography.com/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGn5kxkJnQ03Yg_crPiLjcu4019zUHvk0kKcZfx9EcR4QfoV_4CwLSaKXHdUqM_aem_-vQUDLOmYKVCs8ChcR18tw

t was with palpable excitement that artist Alistair Blaster unveiled a deeply personal and touching tribute to Lisa Allen of the Pink Ribbon breast cancer charity—her very own “Blanky,” lovingly created in her image. The presentation took place at the Firepit Gallery by the O2, a vibrant creative hub that has become synonymous with championing grassroots art and meaningful causes. Surrounded by an enthusiastic and supportive crowd, the moment captured not only the spirit of artistic expression but also the profound sense of community that events like this inspire.

The evening was a celebration of both creativity and compassion, with attendees gathering to support the vital work of the Pink Ribbon charity. Alistair’s piece stood as a heartfelt acknowledgment of Lisa Allen’s tireless dedication and the impact she continues to make in raising awareness and supporting those affected by breast cancer. The “Blanky” itself—playful yet poignant—embodied warmth, comfort and resilience, echoing the very ethos of the charity it honoured.

Also on display was the striking work BustOut by artist Anne-marie Bickerton, whose bold and expressive style added another layer of depth to the evening’s artistic offering. Her work, known for its emotional intensity and fearless use of colour, complemented the tone of the event perfectly, reinforcing how art can be both visually captivating and socially powerful.

Alistair Blaster is rapidly emerging as a distinctive voice within the contemporary art scene. His unique creations—often character-driven and rich in narrative—have already attracted the attention of notable figures, including Vicki Michelle Allo Allo ” and Dr  Anna Kennedy. OBE His work has also begun to cross into storytelling, inspiring children’s literature that carries the same warmth and imaginative spirit found in his visual pieces.

Speaking about the inspiration behind the “Blanky,” Alistair shared: “I am a huge supporter of Pink Ribbon, and I wanted to do something to celebrate not only the charity but Lisa Allen, who is truly inspirational in her work.” His words resonated with many in the room, underlining the importance of recognising the individuals behind charitable movements—those who quietly and consistently make a difference.

The event at Firepit Gallery was more than just an art showcase; it was a reminder of how creativity can be harnessed for good, bringing people together in support of causes that matter. With his growing reputation and heartfelt approach, Alistair Blaster is certainly an artist to watch.

For more on Alistair’s work, visit: https://2shadesmagazine.com/2025/03/02/blanky/

Chapter 3 BLANKY

https://www.pinkribbonfoundation.org.uk

https://www.firepit.org.uk

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A DEDICATION TO Christopher Garnham

Christopher Garnham

By Steven Smith

A Brilliant Artist Lost Too Soon

It is early evening in Earl’s Court London.  It seems like it has never stopped raining for the last seven days and tonight is no different. Earl’s Court is an area that has been my home at times in my life and a playground since past my sixteenth birthday. This evening I am meeting a friend that I have known very fondly for over 49 years. He can be Machiavellian and entertaining but never boring.  He has some very exciting news to tell me and I can hardly wait. 

I would like to share the whole story, but it is personal My friend is adopted and the tip of the exciting news was he had found his biological mother after 70 odd years. With technology being what it is and Ai with just his mother first name and last name a friend had tracked her down. Sadly, she passed in a nursing home in Ipswich several years ago.

The news that he had a brother was something that was quite unexpected . A brother named Christopher Paul Garnham . He too like my friend and me had lived in Earl’s Court an artist and gifted portrait photographer . It was hard to believe what he told me next his brother has passed like his mother, tragegley on the Marchioness.

So many beautiful talented people passed on the Marchioness in fact my friend mother had spent her latter years campaigning for jutice for the victims.  I said this is quite a story  But it got me thinking how many artist and talnted people who light had burned brightly but so briefly that may be some what forgotten 

My friend will one day write about his feeling and his side of things but I wanted to celebrate  Christopher and highlight his story in 2Shades and dedicate this to my dear friend. 

“Christopher Garnham’s portraits of artists including Gilbert & George, Paula Rego and Elvis Costello are preserved today in the collection of the National Portrait Gallery, ensuring that his brief but brilliant career remains part of Britain’s cultural record.”

London’s creative history is filled with artists whose light burned brightly but briefly. One such figure is the gifted portrait photographer Christopher Paul Garnham, a man whose work captured the cultural energy of the 1980s but whose life ended tragically before his career had truly reached its peak.

Born on 1 March 1958 in Ipswich, Suffolk, Chris Garnham grew up in a period when British photography was undergoing a transformation. The late 1970s and early 1980s were a time when magazines, fashion, music and art were colliding to create a new visual culture. Garnham would become part of that movement.

From an early age he showed an instinctive eye for images and composition. His creative path eventually led him to London, where he studied at the Royal College of Art, one of the most prestigious art institutions in the world. There he initially trained as an illustrator, but photography soon became the medium through which he would express his vision most clearly.

The camera suited Garnham’s temperament. He was fascinated by people — their faces, their presence, and the stories they carried with them. Portraiture became his natural language.

By the early 1980s Garnham had established himself as a promising young photographer within London’s thriving creative scene. This was a period when publications such as The Face and Blitz were redefining style journalism. These magazines celebrated a new generation of designers, musicians, writers and artists, and Garnham’s portraits fitted perfectly into that vibrant cultural landscape.

His photographs were distinctive. Rather than simply recording a likeness, Garnham sought to reveal something deeper about his subjects. There was a quiet intensity in his portraits — an ability to capture both vulnerability and strength within the same frame.

Many of his subjects came from the world he moved within: artists, writers, musicians and cultural figures. Among those he photographed were notable names such as Gilbert & George, Paula Rego and Elvis Costello, figures who themselves defined British art and culture in the late twentieth century. 

Gilbert and George by Christopher Garnham

His work gained increasing recognition within the photography world. In 1984 he was named Photographer of the Year by Blitz magazine, a major accolade at the time and a clear sign that his talent had been noticed. 

Two years later his photographs were included in the National Portrait Gallery exhibition “Twenty for Today”, a group show highlighting some of the most exciting young portrait photographers working in Britain at the time. 

The National Portrait Gallery would go on to acquire many of his photographs for its permanent collection, ensuring that Garnham’s work would continue to be seen and appreciated long after his death. 

During this period Garnham lived in Earl’s Court, at Flat 5, 2 Neville Place . In the 1980s Earl’s Court was something of a creative enclave. Photographers, artists, musicians and actors were drawn to the area because of its relatively affordable rents and its proximity to London’s cultural life. It was a place where ideas were exchanged over late-night conversations and where collaborations often began.

Elvis Costello

Friends remembered Garnham as thoughtful, intelligent and quietly passionate about his craft. He was dedicated to his work but never arrogant about his talent. Like many artists of his generation, he was part of a community rather than a solitary figure.

Then came the night that would change everything.

Self portrait

On 20 August 1989, Garnham joined friends for what was meant to be a joyful evening on the River Thames. The group had boarded the pleasure boat Marchioness, which was hosting a birthday celebration. The boat travelled along the river carrying a crowd of young people — many of them from London’s creative and cultural circles.

In the early hours of the morning, tragedy struck.

At approximately 1:46 am, near Southwark Bridge, the Marchioness collided with a dredger called the Bowbelle. The smaller vessel was struck from behind and quickly capsized. Within minutes the boat had sunk.

The disaster remains one of the worst peacetime tragedies on the Thames.

Fifty-one people lost their lives that night.

Christopher Garnham was among them. He was only 31 years old.

The news sent shockwaves through London’s artistic community. Many of those who had known him were still at the beginning of their own careers. The sudden loss of such a talented photographer was deeply felt.

For Garnham’s friends and colleagues, the tragedy was not just the loss of a person but the loss of a future — the photographs he would have taken, the artists he would have portrayed, the stories he would have told through his lens.

And yet his work did not disappear.

The photographs he left behind continue to speak for him.

Today Garnham’s portraits remain preserved in the National Portrait Gallery, where they form part of the visual record of Britain’s cultural life in the 1980s. Through these images we glimpse the creative world in which he moved — a world of artists, musicians and thinkers whose ideas helped shape modern culture.

His photographs possess a rare quality. They feel both intimate and timeless. The viewer senses that Garnham approached his subjects not merely as a photographer but as a fellow participant in the creative conversation of his generation.

Looking at those portraits now, one cannot help wondering what Garnham might have achieved had he lived longer. Many photographers only reach their full artistic maturity later in life. For Garnham, that journey had barely begun.

Yet even in the relatively short span of his career he left an imprint.

In many ways his story reflects the fragile nature of artistic life. Talent, opportunity and recognition were all coming together for him just as fate intervened. His work reminds us how important it is to preserve and honour the contributions of artists whose voices were silenced too early.

Christopher Garnham may not be a household name today, but within the circles of photography and portraiture he is remembered as a gifted observer of people — a man who could look through a camera and reveal something honest and human.

More than three decades after his death, his images still carry that quiet power.

And perhaps that is the greatest tribute any photographer can hope for.

The artist may be gone, but the faces he captured continue to look back at us.

https://www.npg.org.uk

https://www.londonmuseum.org.uk/collections/london-stories/marchioness-disaster/

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In memory of the Queen of Punk .

“God Save the Queen of Fashion: Vivienne Westwood”

Back in London after several years in Los Angeles, my dear friend, the late journalist Lester Middlehurst, could not wait to take me out on the London party scene. It was all a little overwhelming on our first outing — the launch of Naomi Campbell’s first album.

As we pushed through the excitable crowd onto the red carpet, Lester whispered, “You’re not actually invited. I only have one invite — we’ll just blag you in.” In true Lester style, blag me in he did, leaving my face as red as the carpet and my hands shaking. Blagging is not my forte, and I stood there clutching my glass of champagne, feeling far less confident than I looked.

It felt like I was the only person among the assembled celebrity guests I had never heard of.

My nerves were soon eased when a lovely woman with a soft Yorkshire accent asked, “How are you tonight? You look great.” It was none other than the wonderful and grounded Vivienne Westwood.

Unlike many of the politely named “meerkats” I encountered over the years — people constantly looking over your shoulder to see if someone more important had arrived — Vivienne was genuinely interested. When I told her I’d owned a pair of her bondage trousers at just seventeen, she laughed and listened. Several people tried to interrupt us, and she politely told them she was talking to me.

That first London social event is one I will never forget, thanks to Vivienne.

With her down-to-earth, no-nonsense charm, she didn’t just change fashion — she changed how we saw designers. Outrageous, camp, fun, and fearless, she was arguably the woman we all wished could be our friend.

In my teens, I once took my mum for a treat day out to King’s Road when I was sixteen. We sat opposite the famous shop Sex, run by Vivienne and Malcolm McLaren. My mum was not ready for the vibe. Spotting what she thought was a giant tampon in the window, she let out a small scream — and that was the end of our day out.

Whether telling Kate Moss that she’d fancy her if she were gay, challenging older generations with “We don’t accept your values,” promoting the Green Party, stripping for PETA, or mocking then–Prime Minister Margaret Thatcher on the cover of Tatler, Vivienne was never afraid to stand on the front line.

Her origins lay in slogan T-shirts. With Malcolm, she designed provocative clothing that led to prosecution under the 1959 Obscene Publications Act. They responded by rebranding the shop, and later opening Seditionaries. Around the same time, the Sex Pistols — managed by Malcolm — released God Save the Queen, a chart-topper banned by the BBC.

Punk was born, and Vivienne led it.

Long before “fifty shades” became fashionable, she brought taboo, fetish, and fantasy into mainstream culture. She inspired artists like Madonna and helped people express themselves boldly through clothing.

Despite her anti-establishment views, she became one of the world’s top designers. She won Fashion Designer of the Year in 1990 and 1991 from the British Fashion Council. She received an OBE from Queen Elizabeth II in 1992 and was made a Dame in 2006.

In 1992, she introduced wedding gowns into her collections. One of her designs famously appeared in Sex and the City, when Mr Big gifts Carrie her dress.

It shocked many when her death was announced in December 2022 — and that this ageless woman was 81. She passed away peacefully, surrounded by family, in Clapham, South London.

Many people enter this world hoping to leave their mark. The soft-spoken Yorkshire girl left her mark on everyone she met — and an indelible stamp on global fashion.

God save the Queen of Fashion.

https://www.viviennewestwood.com/en-gb/home/?utm_source=google&utm_medium=cpc&utm_campaign=UK-BrandTerms-Expanded&utm_content=BrandExpanded&utm_term=vivienne%20westwood%20shop&gad_source=1&gad_campaignid=21076947590&gbraid=0AAAAADYSJ9cZDboaVmjZv5nlkw43lRqaI&gclid=Cj0KCQiA18DMBhDeARIsABtYwT1gQpHBLGWizIQDTB_4FxxN-EbJtAmBY9TxKjKkd_D8zVQSN4FtgYQaAoYrEALw_wcB