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.
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.
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.
If you’re looking for art that truly stands out—something with edge, intellect and a distinct Italian flavour—then Italian-born artist Ernesto Romano is a name worth seeking out.
Romano lives and works in London, where his practice reaches far beyond the surface of the body and into its very core. Based at the remarkable FirePit Gallery, just moments from The O2, he creates work that is as visually seductive as it is intellectually provocative. This is the kind of art that stops people in their tracks—the portrait no one else has, and the talking point everyone wants.
At the heart of Romano’s work is an extraordinary and deeply personal source material: his own medical records. X-rays, MRIs and internal scans of his body are transformed into striking, often playful artworks that quietly ask some of life’s biggest questions. “I am progressively dissecting myself,” he says with a smile. By stripping the body of its external markers—fashion, status, wealth and adornment—Romano reveals a powerful truth: beneath it all, we are equal. Bones, organs and neural structures carry no hierarchy. Jewels mean nothing here.
And yet, paradoxically, jewels and decoration frequently appear in his work. Glitter, gold leaf and even diamond dust sit alongside stark medical imagery, creating a fascinating tension between what lies beneath the skin and the sparkle we use to present ourselves to the world. Bold colour is central to his practice, an influence he traces back to Pop Art, and for Romano, colour is inseparable from life itself. It is a celebration of being alive, of being human. You can easily imagine his work echoing the iconic glamour of Andy Warhol’s portraits of Marilyn, and being sought after by collectors and celebrities alike.
Research plays a vital role in his creative process. Romano spends countless hours studying historical anatomical drawings, medical imagery and scientific material. He is also deeply inspired by documentaries about the Universe. Reflecting on humanity’s origins and our place within something so vast can feel overwhelming, he admits, but it is precisely that sense of scale that fuels his creativity. Big questions, after all, lead to bold ideas.
At the core of his practice is an ongoing, almost forensic exploration of his own body. Each project focuses on a different internal element, analysed, reimagined and transformed. His most recent work centres on the brain: a three-dimensional print created from an MRI scan converted into a digital 3D file. Next, he hopes, will be the heart—both literally and conceptually.
Romano cites Damien Hirst as a key influence, particularly in terms of colour, though he is careful to stress that his admiration is selective. If he could own any artwork, Guido Reni’s Ecce Homo would be high on the list, while in the contemporary world he is drawn to the visceral, energetic paintings of Riccardo Cinalli, which he describes as full of carnality and pathos.
Originally trained as an architect, Romano brings a strong sense of proportion, balance and material awareness to his art. Architecture taught him the emotional power of simplicity, the relationship between order and chaos, and the importance of restraint. “Less is more,” he says, echoing Mies van der Rohe—a philosophy that underpins even his most glittering works.
Away from the studio, his passions are quieter but no less revealing. If he weren’t an artist, he would be a botanist. He grows flowers from seed and finds the process meditative—a gentle counterpoint to the intensity of his conceptual work. Electronic music provides the soundtrack to his studio hours, while Stephen Hawking’s The Universe in a Nutshellremains his favourite book, a fitting choice for an artist fascinated by existence, origin and meaning.
Looking ahead, Romano dreams of showing his work in unconventional settings. A techno club such as Berghain, housed in a former power station, feels like a natural fit—raw, industrial and immersive. He imagines his pieces on a monumental scale, backlit like giant lightboxes, vibrating with sound and energy. He has already made an international impact, having spent three months working in Shanghai, and his ambitions continue to expand globally.
Ask him where he sees himself in ten years and the answer is simple and quietly confident: at home, making exciting new work for another exhibition somewhere in the world, tea in hand, surrounded by plants. Always moving forward. Always creating.
Finding the perfect birthday experience for someone special is no small task—especially when expectations are high and the guest of honour is flying in from Lisbon with friends in tow. A month before the big day, my phone rang.
“Steven,” my best friend said, “I really want to do something fun for Hernando’s birthday. Something exciting. A show. There’ll be ten of us. What do you suggest?”
I’d been hearing whispers—more like delighted murmurs—circulating through my social circle about a production with just the right amount of cheeky X-factor. A show called SABRAGE. The reviews were glowing, bordering on evangelical, and once I looked further, the decision was made.
Described as an intoxicating collision of circus artistry, vintage glamour, high-octane acrobatics, and mischievous humour, SABRAGE promised far more than a conventional night out. It billed itself not merely as a show, but as an experience. And it
delivers—spectacularly.
On Saturday evening, we headed to King’s Cross, an area that has undergone one of London’s most impressive transformations over the past decade. Once gritty and utilitarian, it’s now a cultural and social hub buzzing with confidence. Lafayette, located just four minutes’ walk from the station, sits discreetly behind the main thoroughfare—an architectural gem that immediately sets the tone.
From the moment you arrive, the welcome is warm and efficient. Even security manages to be charming—no small feat. Before entering the theatre space, there are a few house rules. Chief among them: no photographs of nudity. This might raise an eyebrow or two, but rest assured—nothing here is gratuitous. Everything is artfully staged, elegant, playful, and firmly in good taste. If you’re easily offended, this may not be your night—but if you appreciate sensuality delivered with wit and intelligence, you’re in safe hands.
One of SABRAGE’s most impressive feats—aside from the performers themselves—is the seamless audience experience. Drinks and food can be ordered directly from your seat via a simple scan, and every member of staff we encountered was genuinely helpful, friendly, and clearly proud of the production.
The show opens with a theatrical pop—a sword cleanly slicing the cork from a champagne bottle—setting the mood instantly. Our hosts glide onstage, equal parts ringmaster and rogue, and from that moment, the audience is completely seduced.
Then comes the talent.
Almost immediately, the room developed a collective crush on Flynn Miller, whose high-flying aerial act is nothing short of breathtaking. There is a rare beauty in watching someone so utterly in command of their body, defying gravity with elegance, strength, and apparent effortlessness. His performance alone would be worth the ticket price.
But SABRAGE is far more than a one-man triumph. The cast—drawn from the very best international circus and acrobatic talent—deliver a relentless parade of jaw-dropping moments. There is danger, precision, laughter, and an undercurrent of delicious rebellion throughout. Vintage glamour collides with modern irreverence, and the result is electric.
What makes SABRAGE truly special is its balance. It knows exactly how far to push without tipping into excess. The humour is cheeky rather than crude. The sensuality is teasing, never tawdry. The spectacle is bold but controlled. Every act feels curated, every transition intentional.
By the end of the evening, our table of ten—birthday boy included—was unanimous. This wasn’t just a successful celebration; it was a night none of us will forget. SABRAGE doesn’t simply entertain—it exhilarates.
If you’re looking for something genuinely different in London, whether for a birthday, celebration, or simply because life deserves more champagne-fuelled circus brilliance, SABRAGE at Lafayette should be at the very top of your list.
Well, I have just witnessed a man stand up and speak who could best be described as the prodigious love child of Keith Richards and Ricky Gervais—conceived, perhaps, through the mischievous spirit of Janet Street-Porter. Hilarious. Sharp. Fearless. Unapologetically himself.
And yet, despite appearances, I was not tucked away in a comedy club. Instead, Anna Kennedy OBE and I had ventured somewhere altogether different, joining Pier Space Speakers Corner London for one of their celebrated lunches, held at the funky Balfour St Barts.
What struck me immediately was the atmosphere: a room buzzing with ideas, warmth, and possibility. This was not a classroom, nor a rigid corporate seminar. It was a gathering of diverse voices—entrepreneurs, creatives, leaders, advocates—coming together to share experiences across business, inspiration, leadership, and life itself. A place where stories mattered as much as strategies.
I am no stranger to speaking. I love radio and television, thrive in podcasts, relish a debate, and happily interview just about anyone. Give me a microphone and a subject and I’m entirely at home. But there is a lesser-known truth about me: when it comes to standing up and talking about myself, I freeze. I brick it, as we say. Confidence deserts me. Words scatter.
Yes, a couple of glasses of vino may occasionally loosen the tongue and—miraculously—result in a standing ovation. But that’s hardly a reliable strategy.
So when Anna suggested we both attend Speakers Corner London—not as performers, but as participants, learners, listeners—I jumped at the chance. And I am so glad I did.
Out and about with Anna Kennedy obe
This was the perfect antidote to fear: an environment that was supportive rather than judgemental, energising rather than intimidating. Not a “class” in the traditional sense, but something far more powerful—an inspirational space where you learn almost by osmosis, simply by being in the room with talented, generous people who genuinely want others to succeed.
Anna, of course, took to it like the Energiser Bunny discovering a microphone. Confident, articulate, and deeply authentic, she reminded everyone why her work in autism awareness and advocacy has made such a lasting impact. Watching her speak so naturally, so purposefully, was inspiring in itself.
The lunch marked a pretty epic kick-off to the 2026 events season, and it felt fantastic to be back among such a stellar group of speakers. The line-up read like a roll-call of insight and expertise: Paul Thomas, the “Sound of Success” specialist; Graham Norris, a future confidence guru; Phil Street FIH, hospitality podcaster extraordinaire; Gill Tiney, global collaboration champion and super-connector; Maria Pardo, marketing guru and Toastmasters president; Nic Marks, happiness author and statistician; Hulya Erbeyli PCC, an authentic leadership coach; Paul Cook, expert in change and transformation; and Trevor Folley, whose work on building cultures of trust resonated deeply.
A special mention must go to Yvette Jeal PCC, who opened the speaker spotlight slots for the year with a calm, confident and fascinating immersion into the neuroscience of peak performance. It was one of those talks that leaves you thinking differently—not just about leadership, but about how we show up every day. Felix Riley followed with a high-energy, often amusing and extremely useful set of ten tips for speakers, distilled from years of hard-won experience.
And then there was Zoie Golding MBE, sharing news of the Big Movement and its inspiring mission to get more men dancing for mental health—proof, if ever it were needed, that leadership comes in many forms, and impact is not confined to boardrooms.
By the end of the afternoon, I realised something important: this wasn’t just about learning how to speak better. It was about confidence, connection, and community. About giving people permission to find their voice—whatever that voice sounds like—and to use it with purpose.
So yes, Anna Kennedy OBE and I did venture out to do something different. And in doing so, I found myself quietly braver, unexpectedly inspired, and already looking forward to the next Speakers Corner London gathering in May.
Sometimes, the most powerful thing you can do is simply show up, sit among the experts, and allow yourself to learn.
Samantha Lee Howe is an award-winning author, screenwriter, and broadcaster, known for her ability to craft gripping, emotionally rich narratives. Her latest release, A Thorn in the Rose, launches the Mel Greenway Investigates series, set in post-World War II Britain. The novel follows Lady Melinda “Mel” Greenway, a former army mechanic, who uncovers a body buried beneath the rose garden of the crumbling Avonby Estate. As Mel digs into the mystery, she faces a dangerous web of family secrets, class divisions, and unresolved romance, all while navigating the tensions between the estate’s wealthy residents and its resentful staff. Blending suspense with social history, Howe’s storytelling draws readers into a compelling world of intrigue and mystery.
Picture Annemarie Bickerton all make up Ayesha Baig
In celebration of her new book, Samantha shares her seven favourite things — offering a personal look into the inspirations and interests that fuel her creativity. From her fascination with forgotten histories to the quiet moments of reflection that help her develop unforgettable characters, Samantha’s list reveals the influences behind her writing and the passions that drive her. Whether it’s her love of storytelling, her advocacy work, or her dedication to unearthing hidden truths, Samantha’s journey as an author continues to resonate with readers worldwide. A Thorn in the Rose is just the beginning of an exciting new chapter in her career.
I have so many favourite things that this was a tough one. But in no particular order, here is my seven favourite things.
Ballgowns
Yes, I adore a fancy frock — particularly when there’s a suitably glamorous excuse to wear one. There is something wonderfully transformative about a ballgown: the weight of the fabric, the sweep of the skirt, the quiet confidence it lends the wearer.
My favourite gown was designed by the formidable businesswoman Heather Hardy, who owns the highly successful prom, wedding, and occasionwear shop Glitz and Glamour Boutique, where I regularly indulge my love of elegant dressing. Some time ago, Heather turned her considerable talent to creating her own VIP range — a venture that met with well-deserved success.
Most wonderfully of all, she designed a dress with my favourite style firmly in mind and even named it after me. It remains a deeply flattering honour — proof that sometimes a love of beautiful clothes can be rewarded with something truly personal and unforgettable.
My favourite wine is red, and I’m particularly partial to a good Malbec. Rich, smooth, and reassuringly full-bodied, it’s a wine I return to time and again. As a result, my go-to choice — reliable, consistent, and eminently quaffable — is Casillero del Diablo Malbec. It never disappoints, whether opened for a quiet evening at home or shared with friends.
They also produce a very fine Carménère, which I enjoy just as much — a slightly bolder companion with depth and character, perfect for lingering conversations and unhurried dinners.
Cheese.
Self-indulgent, I know — but wine and cheese truly do belong together. I have a particular fondness for baked Camembert, especially since I first shared one with my husband, David, on our very first date. It was a long time ago now, yet it has never been forgotten. Even today, a Camembert still feels like a small celebration in itself, and I love to bring one out for us on special occasions, as a quiet reminder of where our story began.
Cats
My beautiful furbaby, Skye, is my constant companion when I’m writing. Even now, she’s curled up against my leg as I type, quietly supervising proceedings in the way only a cat can.
What I love most about cats, in general, is their individuality. No two are ever quite the same; each has a personality entirely its own. Skye possesses the softest, sweetest nature, endlessly affectionate and reassuring — yet she also has a mischievous streak that appears whenever things fail to go her way.
Case in point: eating the fake snow off the Christmas tree, an act guaranteed to provoke a reaction from us and, I suspect, part of the appeal. It’s this blend of gentleness and gentle rebellion that makes her such a joy — and such an essential presence in my everyday life.
Skye the cat .
Birthday cake
I adore birthday cake, and the very best part is always the fondant icing. There’s something indulgent and irresistible about it — smooth, sweet, and unapologetically decadent. Still, I’m rather glad it only makes an appearance twice a year in our household, because it’s exactly the sort of pleasure one could develop a dangerous fondness for. Given half the chance, I suspect I could become thoroughly addicted
My Laptop
I honestly couldn’t live without my laptop. It’s an essential part of my daily life, serving as my main tool for work, communication, and social media. It’s where emails are written, ideas are shaped, and conversations are kept alive.
I don’t play computer games, but I do enjoy using it creatively — designing posters and banners, experimenting with layouts, and bringing ideas to life on the screen. Of course, it also has its less industrious moments. Every now and then, it becomes the perfect instrument for procrastination, doubling as a portal to streaming series when I really should be doing something else.
Practical, creative, and occasionally indulgent, my laptop has become far more than just a piece of technology — it’s a constant companion in both my working and wandering hours.
My Kitchen
As I love to cook, my kitchen is my favourite room in the house. It is also the hub of every party we have, and I’m always amazed by how everyone congregates in there each time. I take great pride in it too, and it always has to have clear and clean surfaces, ready, as I’m always saying, to cook the next meal.
My last two dining experiences began with a maître d’ who seemed to have stepped straight out of a sitcom, delivering the inevitable line — “Have you booked?” — in a tone that somehow manages to feel both accusatory and theatrical. Honestly, it makes me want to scream, “If I had booked, I would have told you!” It’s a small moment, but it can instantly drain the anticipation from what should be a relaxed and enjoyable evening out.
Thankfully, any lingering irritation melted away entirely when I arrived at 123 Browns. It isn’t the easiest place to find, but trust me — it is absolutely worth the search. Tucked away like a secret waiting to be discovered, this intimate yet beautifully curated venue feels calm, thoughtful, and quietly confident. From the moment you step inside, there is a sense that this is a place created with care. The space is stylish without being showy, warm without being overbearing, and there is also a charming outdoor area that feels perfect for long conversations and unhurried evenings.
Specialising in plant-based cuisine, 123 Browns proves — emphatically — that vegan dining can be indulgent, creative, and deeply satisfying. This is not food that relies on novelty or gimmicks; it is food that speaks for itself. The service plays a huge part in setting the tone. With only two members of staff working, the experience felt remarkably seamless. From the outset, we were treated less like customers and more like welcome guests. The team took time to explain the menu clearly and enthusiastically, answering questions with genuine warmth. My friend’s rather complex dietary requirements were handled with complete ease, and the wine and food recommendations were thoughtful, informed, and delivered without even a hint of judgement or impatience.
The food itself was outstanding. Every dish felt carefully considered, beautifully presented, and packed with flavour. This is plant-based cooking that doesn’t attempt to imitate meat unnecessarily, but instead celebrates texture, balance, and freshness. The seasoning was confident without being heavy-handed, allowing individual ingredients to shine. If you love sushi, the plant-based sushi here is nothing short of divine — fresh, inventive, and genuinely memorable. Each bite felt clean, vibrant, and indulgent in equal measure. My only regret is that I didn’t order more savoury dishes before sensibly — or foolishly — leaving room for dessert.
And then there was the dessert. The matcha cheesecake deserves its own paragraph, possibly its own fan club. It may genuinely be the dessert of the century. Silky smooth and perfectly balanced, it was indulgent without ever feeling heavy. The matcha flavour was subtle rather than overpowering, lending depth and elegance rather than bitterness. I had two. Yes, two. Naughty? Absolutely. Worth it? Without question.
What truly sets 123 Browns apart, however, is its atmosphere. There is a calm, welcoming energy that makes you feel instantly at ease — almost like coming home. It feels like a safe, comforting space where you are encouraged to slow down, be present, and enjoy food that has clearly been prepared with intention and care. Honestly, just go. It is a treat in every sense, and once you have been, you will already be planning your return.
When news broke that Lubaina Himid RA, CBE would represent Britain at the 2026 Venice Biennale, the art world let out a collective cheer. At 72, the pioneering British artist—born in Zanzibar, based in Preston—has earned a place among the most influential voices of her generation. Her work, a dazzling blend of history, storytelling, and social critique, has long challenged the narratives that dominate Western culture, shining a light on the contributions of Black figures who have too often been overlooked.
Himid is no stranger to breaking ground. In the 1980s and 1990s, she curated trailblazing exhibitions like Five Black Women (1983) at London’s Africa Centre and The Thin Black Line (1985) at the ICA, putting Black female artists firmly on the map at a time when mainstream galleries barely noticed. Her daring vision earned her the Turner Prize in 2017, and a CBE followed in 2018, honours that recognise not just her artistry but her remarkable influence on the British cultural landscape.
And yet, Himid remains delightfully down-to-earth. On hearing of her Biennale invitation, she laughed, “with both disbelief and pleasure,” before reflecting on the opportunity:
“It is such a great honour and at the same time a brilliant and exciting opportunity to make something particularly special, which resonates with multiple audiences, communicates with complex histories, and looks to a more collaborative future.”
The Path to Venice
Being chosen to represent Britain in Venice is no small feat. The British Council, which manages the UK’s pavilion, conducts a rigorous selection process. Artists are nominated and assessed by curators, critics, and cultural institutions from across the country. Their proposals are scrutinised for artistic excellence, innovation, and international significance—a combination that signals not just mastery of craft, but an ability to spark conversation on a global stage. The final decision rests with the Pavilion Commissioner and the Visual Arts Advisory Group.
It’s a recognition that places an artist at the very pinnacle of contemporary British art, transforming their career and showcasing their vision to a global audience. For Himid, whose work thrives on dialogue, this platform offers a chance to create a profound, immersive experience in Venice’s historic spaces.
Reimagining the British Pavilion
Himid is renowned for pushing the boundaries of painting, sculpture, and installation, fusing textures, narratives, and sound to construct spaces that feel alive, vivid, and socially urgent. Emma Dexter, Director of Visual Arts and the British Council Collection, describes Himid’s approach as “a radical optimism combined with incisive social critique,” noting that her exhibition will transform the Pavilion into a journey of discovery.
For Venice 2026, Himid’s work promises to be both playful and profound, intimate yet expansive—a conversation across centuries and continents, a reminder that history is never neutral, and that art can illuminate the stories we have forgotten.
From her early curatorial triumphs to her recent global recognition, Lubaina Himid has always worked at the intersection of history, identity, and imagination. Venice will be the latest—and most spectacular—stage for her audacious vision, a moment that promises to resonate far beyond the gilded canals and crowded pavilions of Italy’s floating city.
In 2026, the British Pavilion will not just exhibit art—it will tell a story, vibrant and urgent, through the eyes of one of Britain’s most brilliant and fearless artists.
Frieze London 2025.PHOTO: LINDA NYLIND. COURTESY OF FRIEZE
By Steven Smith
“This was Frieze in its most mature form — calm, confident, and beautifully human.”
This October, Regent’s Park once again became the beating heart of contemporary culture, as London’s premier art fair returned with a noticeably more reflective air. Gone were the flashing lights and social-media gimmicks that once dominated the scene — in their place, a quiet confidence and an emphasis on meaning over market value. Frieze London 2025 proved that the true allure of art lies not in the roar of spectacle, but in surprise, sincerity, and the occasional whisper that lingers long after the tents come down.
A Quieter Kind of Dazzle
Each autumn, the white tents of Frieze rise like a sleek temporary city, drawing curators, collectors, and celebrities who glide between installations and champagne bars. But this year, something had shifted. The fair felt calmer — less about performance, more about purpose.
The tone was set from the outset. New entrance pavilions — elegant aluminium structures created by A Studio Between using 75 per cent recycled metal — signalled sustainability rather than status. It was a small yet telling gesture: Frieze has grown up.
Inside, the fair’s redesigned layout provided space to breathe. Instead of the crowding and visual overload of previous years, this edition privileged air, light, and contemplation. And what stood out most was originality. You weren’t left thinking “Hirst homage” or “Bacon knock-off” — though artistic lineage was there — the work felt boldly its own.
Frieze remains vast — more than 280 galleries across Frieze London and Frieze Masters — yet this year’s coherence was striking. Focus, the section dedicated to younger galleries, became its emotional anchor. Thirty-plus exhibitors explored climate, identity, displacement, and belonging with genuine urgency rather than opportunistic messaging.
One standout installation — a delicate shelter of reclaimed textiles and timber — spoke quietly yet powerfully of “home”. No gimmicks. Just humanity.
Even the major galleries opted for subtlety. Gagosian, Hauser & Wirth, and White Cube resisted spectacle in favour of introspection: small, thoughtful works that drew viewers in rather than overwhelming them.
“Frieze 2025 is a fair about stories, not stunts.”
The Market Mood
Frieze is both cultural pilgrimage and high-stakes shop floor — and the cooling market was impossible to ignore. Economic uncertainty has made collectors judicious, especially in Britain. Yet the fair thrived precisely because it did not mask reality.
Dealers confessed that sales were careful but consistent. Relationships mattered more than rapid-fire transactions. There was less frenzy, more trust — and with it, a sense of optimism that art still carries weight when times feel lean.
Art with Intention
What defined Frieze this year wasn’t a single blockbuster piece — but a collective tone of intentionality. Works spoke across booths about survival, memory, fragility, and the search for place.
Even architecture joined the conversation. Those aluminium pavilions — modest in shine yet rich in idea — mirrored the fair’s shift: modernism stepping into mindfulness.
Once known for glamour and provocation, Frieze has found its inner voice. No longer chasing viral moments, it invited something rarer: genuine attention.
“If previous years shouted, this one spoke — and everyone listened.”
Naudline Pierre, Bathers, (2025). PHOTO: COURTESY OF NAUDLINE PIERRE AND JAMES COHAN
Moments of Stillness
Frieze 2025 balanced buzz with calm. The chatter of negotiations coexisted with long, quiet looks. Visitors paused not because works were famous — but because they were interesting.
Climate anxiety, migration and belonging were recurring ideas, but handled with nuance rather than sloganising. There was vulnerability — a powerful antidote in a world polished to a shine.
Where It Wobbles
A fair this size still overwhelms. After several hours, even the sharpest eye risks softening into what insiders call “booth blur”. And while sustainability was championed, the contradiction of air-freighted masterpieces inside temporary architecture remains unresolved.
Yet for Frieze, these were growing pains — not failings.
“After three hours, the brain begins to flatten everything into booth blur — but somehow, this year, the art fought back.”
London’s Moment
Amid market turbulence, Frieze reaffirmed London’s role as the art world’s soulful heart. Where Basel can feel clinical and New York transactional, London offers intellect tempered with humour — grit paired with grace.
A temporary city in a timeless park: that is its poetry.
Frieze London 2025 was the grown-up edition — less showmanship, more sincerity. It favoured ideas over Instagram, meaning over money. It reminded us that great art doesn’t always demand attention. Sometimes it waits. Sometimes it whispers. And sometimes, if you pause long enough, it tells you exactly what you needed to hear.
“This was Frieze in its most mature form — calm, confident, and beautifully human.”
2Shades Magazine 