Nicola:  You are a new Mum, artist and seasonal explorer who went from burnt out city girl to a slow living advocate in the countryside.  Can you tell me more about this journey?

Becky:  I’ve always craved connection, but it was only when I moved to the farm a few years ago I truly found it. Before then I struggled by in the city feeling a bit lost and very disconnected from my surroundings, my creativity and my health.

When I made the move to Broughgammon Farm to live with my then boyfriend (now husband) it was a huge leap of faith, but it paid off.

Through working and living on the farm I began to get interested in gardening, the seasons, slow food and living naturally. I began to meal plan, swap all my skincare and makeup to natural options, minimise my wardrobe, as well as paint again and I shared these breakthroughs on my blog.

As well as giving me a sense of connection and peace, this more anchored, slower and natural life has been beneficial in healing my autoimmune condition. I’m now aware of how little we need to be happy, how the small things can bring so much joy and how powerful nature is!

I’ve also just become a mum and I’m excited to share this beautiful country life with my son and learn the art of slow motherhood!

Nicola: You approach life from a holistic angle, from what’s on your plate to the products you use on your skin, and even what’s going on in your mind. Can you tell me more about how you incorporate this into everyday life? 

Becky:  The concept of slow living sums up how I aim to live. It’s about taking time to reconnect with nature and our surroundings every day, and about bringing a sense of ritual to the little things.

Even on chaotic days I like to do something small to bring me back to the moment and to nature.  It could just be picking fresh flowers from the garden to put beside my bed, or using lavender essential oil to help aid sleep at night. I’m always thinking of how I can be more present and natural, and remembering to take the time to breath in the beauty of the day.

Nicola:  I’d love for you to tell us about the courses you run?  Who they are for and what it is you teach?

Becky:  I run an online course called Natural Living that teaches people how to rekindle their connection with nature and live a more natural life. It has lots of lovely projects, from blending herbal teas to making your own natural skincare. It shares everything I have learnt over the past few years that’s had a powerful and transformational effect on the quality of my life and health. 

I also organise artisan slow-food classes here on our farm (Broughgammon Farm). We teach everything from foraging to cheese making. 

Nicola:  Can you tell me about your podcast and the message you share?

Becky:  I have a podcast called Nature & Nourish, which chats about how we can live a more connected and slower life in tune with nature. I celebrate each month with a podcast episode dedicated to it. This helps me remember which food is seasonal, what events are happening and what I can look out for in nature.

Other topics covered include living mindfully, the environment and everything natural!

Nicola:  You live in a little seaside town called Ballycastle on the North Coast of Ireland.  Can you tell me more about where you live and what a typical day in your life is like?

Ballycastle is such a gorgeous place to live; it’s a cheery seaside town that has retained its sense of community. Everyone knows everyone and I love that! I

depend hugely on my local town for running shopping errands, going to the library, baby classes and also showcasing my paintings in the local gallery. We live just outside of the town on our ethical farm surrounded by fields. I love having this space as it fuels my creativity.

A typical day in my life is varied especially since becoming a Mum, although it usually contains plenty of tea, gardening, writing and brainstorming future plans with my farmer husband. 

We’re aiming to become more permacultural over the next few years and possibly build an eco house!

Nicola:  And lastly, if someone reading your story were inspired to follow their own creative dream, what advice would you give them?

Becky: Don't wait for the perfect time. I’m a big believer that we should live in the moment and live for today. When I made the break from the city to the countryside it certainly wasn't ideal timing, but on reflection I wish I’d done it sooner! Perfectionism can really hold us back, but if you have a dream you should make steps towards that right now!

You can find Becky on Instagram.

Making artwork is how I see and feel the world that surrounds me. Pressing the tip of a brush to paper, feeling the subtleties of my materials, putting down just the right colour… this is what helps me to understand. The act of creating helps me to reflect upon and learn from my experiences. It is a quiet and thoughtful process of working with my hands, mixing colours, and painting or printing. These actions are what allow me to move through the difficult and joyful things in my life.

A little over a year ago, my mum was diagnosed with cancer. Between that day and this one, countless complex and multi-layered experiences have taken place. When I look back on that time, the feeling of watching the seasons pass by along the road stays with me. I spent countless hours, feeling everything so intensely, and travelling back and forth between our cities of Ottawa and Montreal, Canada.

Since then, my feet have carried me steadily back to the studio and to making. As I navigate this time of grief and loss, I find myself creating a series based on the photos, sketches, notes, and memories of the drive between our two cities.

“Roadside Fog”, Between Cities series. Hand-made screenprint on paper.
 

When I think back to her diagnosis, I see the subdued browns, greys, and muted purples of the November landscape. I had never fully realized their beauty before. There is a phrase here, in Quebec, that is used to describe this season, “sous la grisaille” which means “under the greyness”. Somehow this makes it a beautiful season in itself. Overcast days cast a soft light and bring out muted palettes of mauves, browns, rust reds...

This is the colour palette that marked the beginning of many trips back and forth between the city where I live now and the city in which I grew up. I remember groupings of hazy trees in a wealth of muted earth tones. Forests without leaves. I close my eyes and see corkscrew shrubbery, roadside grasses in yellow ochre, and the surprise sprinkle of a bright red berry.

This project has been for me a healing journey of reflection and of working with my hands. As I create each landscape, I feel a little more strength. It is almost as though each piece forms a gentle stitch, repairing a wound.

“Winter Grasses”, Between Cities series. Hand-made screenprint on paper.
 

When I think of hospice visits, I think, too, of blue shadows on dazzling sunlit snow-covered farm fields. I remember icy boughs bending beneath their weight. Sparkling fields, crisp, clean lines. Evergreens topped with mounds of snow. A hushed silence and a sense of uncertainty. Would it be days? Weeks?

I have wondered at the marvel that is memory. At how clear certain snippets can be, and how hazy others. The specifics can become mixed or unclear. What we are left with is a sense of place, of colour, of light, and a few highly-rendered details.

I have thought much about the forward movement of life. The forward movement is, and was, almost visible in its relentless march – at times slow, and at times slipping too fast.

“Flooded Gardens”, Between Cities series. Hand-made screenprint on paper.
 

It seemed unstoppable as we moved into the summer of last birthdays. The verdant grasses and trees after summer rains. Bands of highways criss-crossing a sea of green. I think of rainy hydro corridors and of trees in the wind – their leaves turning up to reveal pale undersides. The stormy rain-saturated clouds of late summer. A red canoe. Overflowing gardens.

“Green Highways”, Between Cities series. Hand-made screenprint on paper.
 

And, finally, we come to the quiet afterward. With this, came fall leaves crunching underfoot and blowing onto roadways. The garden tidied and tucked in for the season. Empty nests in treetops, chimneys dotting rooflines, the blur of passing highway barriers. I think of hard-specked rain drops blown in gusts of wind, and of softer rainy-day fog. I feel the cooler winds on my face and hands. Warm sweaters. Yellowed grasses, and a lone tree standing amid harvested and flattened fields. The landscape readying itself for winter.

I was left with a sadness, uncertainties… and the memory of a year of back-and-forths between two cities.

“Dusk farm”, Between Cities series. Hand-made screenprint on paper.
 

Since then, there have been many days passed quietly in the studio – mixing the colour palettes of my memories. I have come to realize the many delicate nuances contained in the colour gradations of the natural landscape which require great care to capture.

This series, as with much of my work, is not about landmarks or glamourous subjects. Instead, it ponders small scenes that caught my eye and stayed in my memory. Small moments like these seem to be the very essence of living, for me, and they are deeply meaningful. When I think back to a place or an experience, I most often find that what I’ve been left with is a series of snippets: the dazzling light of summer, the smell of the earth right before it rains, the feel of textured concrete beneath my palms.... These are the things that bring back a particular moment in time for me and, in turn, the larger experiences and stories that took place around it.

As wet, bare branches reach into grey spring skies, I can feel a breath of air. The beginnings of coming through the other side of something. As I look toward the future, there is a quiet sense of possibility, and of hope for what lies ahead.

Visit Michelle's website, or follow her on Instagram. All artwork by Michelle Darwin - prints available here. 

Nicola:  Can you start by telling us about The Home Paddock and how you came to start your own business?

Sarah:  I’ve always had a strong desire to own a little business of my own. As a teenager I wanted to have a shop filled with rustic furniture and beautiful things. I had a lovely dream of spending my days restoring furniture and arranging the shop to look amazing! Reality is a big leveller, but the desire to have a creative business never left.

Over the years I have had an endless string of ideas that never felt quite right or got off the ground. I had started making children’s clothes under a label called Clancy and Belle, but when I fell pregnant with Eleanor (now 5 months old) I quickly realised it wasn’t a sustainable venture. So instead, inspired by the very talented Rebecca Desnos (@rebeccadesnos), I began to dabble with natural dyeing as it was more flexible and family friendly. I am now totally hooked!  

I rebranded my online store to The Home Paddock, in reference to the farm/country location and my products being for the home. Everything fell in to place and I had a positive response to my launch just before Christmas last year.  I have been dyeing non-stop since.

Nicola:  I know you come from a family of makers and that you learnt botanical dyeing from your Grandmother.  Can you tell us what botanical dyeing is and the process involved in making your products?

Sarah:  Botanical dyeing is a process that has its roots in the earliest days of textile production. Essentially it is the gathering of natural materials such as barks, leaves, flowers, lichen or even soil to create colours for fibre and textiles. The gathered materials are then boiled in water and left to seep, to draw out as much colour as possible.

Some plants and materials are more suitable than others and create more lightfast and intense colours. Eucalyptus leaves and bark is a good example of this. Usually plants that are high in tannins make great dye plants. Herbs are often great for dyeing with as well. I only work with natural fibres such as wool, cotton, Linen, hemp and silk.

Before the material goes into the dye pot it must be prepared so it can absorb and maintain as much of the dye as possible. First there is scouring, where I boil the fabric for several hours to remove the chemicals from processing. I then soak the fabric in soya milk to mordant the fabric. Mordant means ‘to bite’.  The mordant allows the fibre to take up and retain as much dye as possible. It also assists with the fabric maintaining as much colour for as long as possible. The fibre is then put into the dye pot and heated.  It is then left to sit and absorb the dye for a day or two. This is when the magic happens! The fabric is removed, given a quick rinse and sometimes an afterbath (to alter the colour) before being dried. At this stage it is always exciting to see what colours and markings have been revealed.

There are always subtle differences when working with natural dyes.  There are so many variable elements that can alter the colours you achieve. This is one reason I love this process so much, as nothing is predictable and you get something slightly different each time. The fabric is them left to sit and cure for at least a week before a final wash and iron.  Then it’s ready to go!

Nicola:  Can you tell us where you draw inspiration from for your work?

Sarah:  As long as I can remember I’ve had a strong attachment to the Tasmanian landscape. I grew up on a beautiful sheep farm in the midlands of Tasmania and would spend my days helping on the farm, or walking and riding around the farm making things and collecting natural treasures. It was a very idyllic childhood rooted in nature, and very much influenced by the weather and seasons.

This desire to express my attachment to the landscape and place continued through my university art degree where I studied textiles, print making and painting. Painting was my major and I continued this for a long time after university. But with a busy family life I found it increasingly difficult to find the time or headspace for it, so I returned to my roots of textiles and dying.

It is immensely satisfying to use raw and natural ingredients to make something that will be used and treasured by others. I also love the fact that textiles are such an integral part of our everyday life. Their humble domesticity can be such an expression of status, culture and shared histories.

Nicola:  You live on a rambling cottage on a family farm in Tasmania, Australia, which is a beautiful part of the world.  Can you tell us more about where you live, your family life and why you love living here?

Sarah:  We are very blessed to live in Pipers River, which is in the North East of Tasmania. It is located in the heart of a world renowned wine region, thirty minutes north of the city of Launceston and close to many pristine beaches. I refer to it as the land of milk and honey!

My family moved to a small farm here about twenty years ago. The property which is named ‘Laroona’ had previously been a dairy farm, but had been let go for many years. My parents tackled the huge task of renovating and restoring the old farm cottage, which was built in the 1900’s. My mother, who was a passionate gardener (she is no longer with us but her spirit is very much alive in her garden), created a beautiful cottage styled garden around the few established trees. My father had the huge task of clearing the farm of weeds, restoring fences and planting native tree belts.

My husband (also from a farming background) and I took over the lease of the property a few years ago, and now run a mixed operation of sheep/cattle and some cropping. It is such a beautiful place to live, and we are so blessed to be able to give our children the privilege of a country childhood just like our own.

Nicola:  You obviously have your hands full with three young children, the farm and your business.  Tell us what a day in your life looks like at the moment?

Sarah:  Busy! We are a family of fowls (early risers) so our day begins early. We have wriggly cuddles in bed with the children before getting started with the day. I always have a cup of tea in bed to get me going, as once my feet hit the ground its pretty non-stop! Depending on whether it’s a home or school day determines the pace and flow of the morning.

Home days tend to have a slower, gentler start. The children will often play for a while before breakfast, while I potter and get as many jobs done as I can. If the weather’s fine we like to get outside before it gets too hot. We love spending time in the garden, feeding animals, going on bush adventures (and foraging for dye plants!), or playing under the trees on the trampoline or in the cubby house. On the weekend we often head out on the farm with Chris to tend animals, feed out hay, or help with other farm jobs that need doing. Both Annabelle (5) and Clancy (3) love doing creative activities like painting, craft and creative play. We are always on the lookout for natural bits that we bring in to use in our craft and play.

Midday is usually lunch followed by rest time. This often gives me an hour where I run like a mad chicken tending to my dye pots, sewing or packing up an order. I have discovered the power of working in small blocks of time! Before I had children I always felt I needed a great chunk of free time for my creative pursuits, but now I realise that I can achieve a lot in little blocks of time throughout the day. This is another reason why I love the dyeing process, as it is so flexible and can be tended to here and there as it suits. The children love my dyeing and I try to involve them in the process as much as possible. I am a firm believer in passing down traditional skills to the next generation. They often bring leaves and flowers in from the farm or garden for my ‘dye pots’, and love creating their own dye concoctions in their role play!

Afternoons always fly by with play, jobs and dinner preparation. We try to eat dinner together (depending on what time Chris, a plumber, gets home) at the table every night.  We discuss our day and talk about our best thing and not so good thing that happened. I really encourage gratitude and we talk about things we are grateful for. Evenings tend to be a quieter time with baths, play, lots of books, songs and cuddles. Once everyone is settled I usually try to do bit more work in my studio before collapsing into bed!

Nicola:  What is your favourite way to connect with nature?

Sarah:  My garden;

Walking;

Bush adventures.  In the winter we love to have bush picnics and make billy tea and cook sausages on a campfire;

Just sitting on a mossy bank and breathing and observing;

Foraging and gathering things for my dye pots.  It has made me see the wealth of resources that I am surrounded by. I’m always on the lookout for different plants to try dyeing with; and

Stopping on the roadside to gather great big bunches of leaves to take home.

And lastly, if someone reading your story were inspired to follow their own creative dream, what advice would you give them?

Honour your creativity! For a long time I felt as if I had to put my creative pursuits aside or second to ‘real life’.  As if having time to be creative was a luxury. But I learnt the hard way that being creative is like breathing for me.  It is an essential part of who I am, and how I interact with others and the world around me. I feel incredibly lucky to have the support of so many beautiful friends and networks such as Instagram.  I finally feel like I’ve found my tribe.

Find something that you love doing, that way it is play not work. The best way to do this is to experiment with different mediums, crafts and art forms until you find what fits. My family roll their eyes at all the different ‘projects’ I’ve had over the years!

Be creative in some way every day, even if it’s something small like arranging flowers for the table. It will allow your creativity time to play, give you freedom to experiment and say to your creative soul, ‘I love and honour you’.

Baby steps! It can be overwhelming starting a new business. So start small and work towards the bigger things. It’s amazing what you can achieve in ten minutes! I no longer have the luxury of blocks of clear time, but it’s amazing how much you can achieve by doing things in little spurts throughout the day. It also feels great to tick a couple of things of the list each day, no matter how small they are!

Visit Sarah's website, or follow her on Instagram. All photographs copyright Luca Edwards.

Nicola:  Can you start by telling us about Cowparsley at Home and the journey you took to start your own business?

Alison:  The countryside, most notably my time spent on Dartmoor, has had a huge and lasting influence on my life; both as a playground through my childhood, and as a comfort and anchor during challenging times in my adult life. When my daughter, now 25, left home I needed something to nurture ... and so Cowparsley was born.

Nicola:  You describe your products as being ‘Comfortably English’ in design, as well as subtle and understated.  Can you describe the theme of your products and what inspires you in your creative process?

Alison:  I had rather a nomadic upbringing, with many home and school changes due to my Father’s occupation in the Royal Air Force. This left me with a strong desire to ‘root’ myself. Due to this home became increasingly important to me.  

I am drawn to the comfort of time-worn houses, where the comfortable style and decoration have evolved over time, reflecting the personality and needs of the families living there. I love the wild romance of English gardens.  Flowers are essential to my wellbeing.  

All these influences appear throughout my designs and inform the themes I choose. I don’t follow trends.  I can only work with what I love and has meaning to me. 

Nicola:  Can you share with us where you live, what your workspace looks like, and how a day in your life unfolds?

Alison:  I live in a small village on the edge of the Blackdown Hills in Somerset. We converted an old hay barn into a workshop. This is where I work on my wallpaper designs, often making mood boards to help me tell the story behind the patterns. I have an online shop, so as orders come in I pack and then send them from the post office in a neighbouring village. My product range is small but all made to the highest quality.  This is far more important to me than mass sales. I use social media, in particular, Instagram and Pinterest, to promote and market the brand.

Nicola:  I know you are currently rethinking the direction of Cowparsley at Home.  Decisions like this aren’t easy when you have put so much energy into creating your business.  But I also think they are important stories to tell.  We’d love to hear yours if you are comfortable talking about it?

Alison:  I often wonder if one can be both creative and business-minded equally and successfully?  I struggle with the latter. The reality of running a business can be daunting.  As I work alone it is isolating at times and hard to remain confident in what you are doing.

I have recently made the decision to step back from Cowparsley and the pressures of the business to rekindle my love of working alongside other creative people who inspire and empower me. This decision means Cowparsley will be taking a back seat in the future.

Nicola:  I also know you have started working alongside Grace Alexander, who featured in Issue 3 of the Creative Countryside magazine, on her cut flower and seed business. I’d love for you to tell us how you came to start working together and what excites you most about this new opportunity?

Alison:  Many years ago I did a floristry course, and although technically helpful I found it rather restricting.   However, flowers remain hugely important to me. I love the wildness and the ‘natural just picked from the garden or hedgerow style’.

I have recently started working alongside Grace Alexander, who I met when I attended a few of her flower workshops at Forde Abbey. Grace has a unique, natural and refreshingly honest approach to how she grows her cut flowers and packages her beautiful seeds.  Grace knew I was looking to reconnect with flowers and the land again.  She offered me a couple of days working with her and gardener Danny Burlingham in her flower field, helping to style photographs for both home and garden.

Nicola:  And lastly, if someone reading your story was inspired to follow their own creative dream, what advice would you give them?

Alison:  For anyone thinking of starting out in a creative business I would say never let age be a barrier.  Also, think about what you want from the business.  Will it be full or part-time?  Do you need it to provide a regular income?  It is a very competitive market out there. Be true to yourself and be authentic. Working alone can be isolating though, so find other creatives you can bounce ideas off and who will offer support.  But most of all, if it makes you happy then do it!

Photography by Jake Eastham and Alun Callander.
You can find out more about Cowparsley on Instagram and their website.

Nicola: So we can get to know you better, can you start by telling us about yourself and Gnowangerup Cottage?

Tom:  Hi Everyone, I’m Tom.  I’m a 30-something, checked shirt and galvanised watering can addict from Norfolk. I studied History and Archaeology at Hull University and currently work with students with learning disabilities at a Landbased College.

I inherited Gnowangerup Cottage from my grandparents who emigrated to Australia in the 60s. They were due to go to Melbourne but were offered their money back if they got off at Perth in Western Australia, which they agreed to do. They stayed in an army camp and worked until they could afford to buy some land...which was called Gnowangerup! It’s Aboriginal for the place where the Mallee Fowl nests. When they came back to the UK they were looking for a place to buy.  They came across this place they used to cycle past and dream of owning. The bank was foreclosing on it, so they snapped it up and named it after the land in Fremantle near Perth.

The Cottage was originally built in the 1830s and was two separate one-up, one-down farm worker dwellings. My grandparents built on a little extra and added to the land with a source of wood for the fire, a few fruit trees, and space to keep chickens and have an allotment style garden.

My Gnowangerup Cottage Instagram and Blog began when a friend encouraged me to start documenting the ‘good life’ of producing your own fruit and vegetables, and trying to gain a degree of self-sufficiency. Over the years my Instagram has changed into a place to share my wildlife photography; however I still keep elements of gardening and general country life running through it.

Nicola:  Tell us about the Norfolk countryside and what you enjoy most about living there?

Tom:  What I love most about the Norfolk countryside is the diversity of habitats! We have the wonderful north Norfolk coast with amazing variety, from tidal creeks and salt marshes, to huge expanses of unspoilt beaches. The beaches are important to both Common and Grey Seals for giving birth to their pups, and also important to wintering birds such as Sanderlings coming over from Siberia.

In the south we have the Brecks, a landscape of tranquil forest, open heathland and agricultural land that is home to many unique or distinctive birds, plants and animals. Somewhere in the middle are the Norfolk Broads, Britain's largest protected wetland, and third largest inland waterway, with the status of a national park. It is also home to some of the most rare plants and animals in the UK, such as the Bittern and the Swallowtail Butterfly. I love the slow pace of life and lack of streetlights, but perhaps not so much the terrible WiFi!

Nicola:  You are very passionate about nature.  Can you tell us where this passion comes from, and why it’s such an important part of your everyday life?

Tom:  Growing up in the Norfolk countryside with parents who loved nature was a massive influence. They weren’t experts, but would always point out different birds and tell me facts. Having the observers books on the shelf helped too! It’s really important to me because it is my way of relaxing and de-stressing. How much more relaxing can it get than sitting in the middle of the woods listening to the birds singing and the bees buzzing?

Nicola:  I love the nature photography you share on Instagram and on your website.  Can you tell us how you got into photography and what you love most about it?

Tom:  I’m very fortunate in that my grandparents invested in some land many years ago that includes woodland and an old disused railway line close to the cottage. Exploring it as a kid I saw lots of amazing wildlife that I wanted to capture on film. Also the stunning filming on shows like Planet Earth and Spring Watch are an inspiration, and make me want to get out there and see it for myself.  I’m lucky enough to have a place to go where others won’t disturb me.

What I love most about photography is the anticipation of not knowing what you will see next! It's an adrenaline rush similar to fishing, when the float bobs or the fly line twitches. It gives me a chance to get out into the countryside and test my skills, and to get close to completely wild animals. It's great when you set up in a spot that feels good and you're rewarded.

 Nicola:  When you aren’t pottering about your garden, and taking amazing photos of nature, how do you enjoy spending your time?

Tom:  It goes without saying that those are my two favourite hobbies! I really love taking my camera and walking around my local RSPB and Norfolk Wildlife Trust reserves, as well as exploring the countryside. I am currently spending a lot of time modernising the cottage, with the help of my dad who is a builder by trade. My other passions are sailing on the Norfolk Broads and riding my motorbike, although I freely admit I’m a fair weather rider! I love looking after my chickens, and I have all the equipment ready to start beekeeping!  

Nicola:  And lastly, if you had one message you wanted to share with our readers about looking after our natural environment and the creatures that live in it, what would it be?

Tom:  It’s so easy to get disheartened by the global issues we face today around the use of plastics and the destruction of habitats. I think the most accessible way to look after our wildlife is in our own backyards. This is something we have direct control over, and I try to think of wildlife in everything I do in the garden. It is so easy to make your garden more wildlife friendly. Everyone can leave a patch of lawn to grow longer, plant pollinator friendly flowers, put out bird food and nest boxes, and create a bug hotel and a pond! 

Visit Tom's website, or follow him on Instagram, Twitter and Pinterest. 

Image ©Holly J C Wilkinson

I’ve been in Cornwall for just over 4 years now and within that time I have met some talented makers and creative folk.  When you’re within a creative environment like that of Falmouth and Cornwall there is an abundance of different kinds of disciplines and practices taking place. From painters, illustrators, crafty types and makers. I thought I would share some of the work of these people as I think it’s so important to share with each other your creative inspirations and have a continuous dialogue with other creatives around you.  The ladies I’m going to talk about all have a multidisciplinary approach to making that I think makes each of their practices engaging. 

Megan Fatharly

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Megan Jordan

Meg Jordan is a maker whose main practice rages from textile, woodwork and mixed media craft. It’s her interest in combining different materials that makes her work engaging. An exploration of how these various materials can be combined to create tactile objects of intrigue, filled with patterns and made with care and understanding of each material.

Some of my favourite pieces of Meg’s are her wooden pieces where she has stitched intricate patterns onto the surface. It’s important to note how she is taking traditional, craft skills and manipulating these and applying them in a variety of ways to surface and function. I think this exploration is so interesting, the opposition of function and just work to look at. The physicality of her work is shown through the process of making and attention to finer details.

Find out more about Megan:

Instagram

Website

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Joanna Lillie

Joanna is an illustrator maker whose application of material and how she translates her ideas into these mediums is really engaging. Her creative language is fluid and she is able to translate this visual code to a variety of materials, some of my favourites being her clay structures and colour work.

This is something that as a creative I am trying to hone, I think it’s great to be experimental but when I make, I think I lose a sense of myself with each process and at times it can feel disconnected.  Joanna’s clay work is small and intimate and each detail is painted with care. Each mark is immediate too and adds to the character of what she is depicting. 

Find out more about Joanna:

Instagram

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Jasmine Mills

Jas’s work is currently in a transition stage where she is letting the work direct her influences. She’s currently working on the context of her work which I think when your work is more ambiguous and fleeting is important. There is only so much intuition you can use before it runs dry. I think as an artist she has a good balance between the making and thinking but within that trusting when a painting is resolved.

She is a painter who makes bold colour choices but through experimentation and refining has found a way of making this work. She has repetitive elements in her work that I think are important to note, certain marks and ambiguous landscapes that make an appearance keep the viewer intertwined with her narratives

Find out more about Jasmine:

Website

Instagram

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Catherine Vallely

Cat is another illustrator maker whose experimental approach to material to create her inquisitive characters is something I’ve not seen in a while. Her making and drawing is again very physical but she is selective in how she combines these elements to create compositions that engage the handmade and hand drawn.  

She uses found organic matter so create wonderful and unique characters, giving dead plants and found objects a new lease of life. These tactile qualities add warmth to her work and narratives.

Find out more about Catherine:

Website

Instagram

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Nicola:  Can you tell us about Jules Hogan Knitwear?  We’d love to know how your business has evolved to where it is today?

Jules:  I started the collection in 2010 while working full-time for a knitwear design studio in London. We focused on knit as constructed textiles with a hint within the design of the fabrics’ end use, mainly garments for men and women. These designs were sold worldwide to fashion designers and retail shops. Developing designs at a fast pace, and commuting on and off for 20 years, began to take its toll.

I wanted to slow down, enjoy the therapeutic process of making and have improved life balance.  My focus was to develop ideas from initial inspiration, through to the design of the fabric and making a final piece. Making decisions on yarn quality, fibre content, silhouette and working with British companies where possible.

I initially began by making fashion and home accessories, and this developed into garments.  Working on exclusive colour palettes for stockists and bespoke orders has become a fundamental and enjoyable element of the business. I enjoy this collaborative aspect, which pushes my boundaries and helps me look at things through fresh eyes.

Nicola: Where does the inspiration for your work come from?

Jules: Inspiration and technique have remained constant throughout my work. I am drawn to tradition; the effect of weather on materials, land and seascapes, simple geometric patterns and striping with the use of subtle neutrals, bright highlights and blended yarn.

 I am constantly taking photos of the everyday, things spotted on my daily walks and take visual notes of things I see. The collection is constantly evolving, and an initial idea fuels another and then another, coming up with a fresh development.

Nicola:  We’d love to know more about where you live, the space you work from and what a normal day is like for you? 

Jules:  I live in Tilehurst Village, which is on the outskirts of Reading near the countryside and open fields. My studio is a meander down the garden.  It’s my creative haven with several re-conditioned vintage-knitting machines, both hand flat and industrial, yarn, mood boards, and books.

Each day is slightly different depending on what is in the order book.  It usually starts with Instagram over breakfast, catching up with the accounts I follow and interacting with posts.  I then check my emails before heading into the studio around 9 am.  

I am very disciplined during the day and refer to my planner for tasks that need to be achieved. I like to have a few solid hours knitting in the morning before stopping for lunch around 1 pm.  I then walk Jaxon up to the park or woods, taking photos of anything that inspires me.  Or I use this time to refresh my mind and think things through.  The afternoon is usually spent doing some more knitting, putting garments together or finishing.

Nicola:  I know you are committed to quality and use the finest British materials, including Scottish spun lambswool, sourced from a family mill that has been spinning yarn in Scotland since 1766.  Can you tell us a little more about that story?

Jules:  I have been using this yarn quality for over 20 years, so it was at the top of the list to use in my collection. The shade card is extensive with colours that reflect my work, good neutrals, and deep saturated colours. I mainly use the melange shades that have many fibers of different colours spun together, to make a new colour giving depth and texture.

The mill has a policy of animal welfare and the dyes meet British Standard. 

Nicola:  Can you also tell us about your process from the initial idea for a knitwear piece to the final product?

Jules:  Even though each piece appears simple there are also technical elements to consider. It starts with a sketch, calculations to work out the number of rows and stitches, where a pattern will start and end. I also spend time experimenting with small samples of colour, trying out different combinations.

The machine is threaded up adjusting the tension so that the yarn runs freely through the feeders and carriage of the machine.  I follow the sketch in my notebook so I know where to change colour, place markers for a sleeve and where to shape the neck. Garments are fully fashioned (shaping by moving stitches from one needle to another), and this takes time but gives a beautiful effect.

When a piece is finished it is cast off, lightly pressed, put together using a linker (a sewing machine for knitting), washed, air dried and pressed again.The final part of the process is sewing in care labels and attaching swing tags. 

Nicola:  You say your pieces are simple, handcrafted knitwear for those that like to make a quiet statement. We’d love for you to tell us what this means to you and how you interpret this in your work?

Jules:  I make knitwear to enhance but not overpower the wearer. Colour palettes flatter different skin tones, and the highlights of bright colour add a bit of surprise and individuality. Silhouette masks areas that don’t want to be shown, while allowing certain parts of the body to peep through. It's about making people feel great about themselves.  

Nicola:  And lastly, I’d love for you to describe the type of person you think your knitwear is most suited to and why? 

Jules:  It is quite difficult to describe a type of person, as my customers are so varied, but through observation, I would say, people that care about provenance, the story behind the work, and appreciate handcraft.

Find out more here: 

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Nicola: You are a writer and artist who specialises in nature, landscapes, rural heritage and ethical living.  Can you tell us more about the work you do and the journey you took to be doing what you love?

Tiffany:  I’ve always loved nature, birds, trees and being outdoors.  But the love I had during my childhood was abandoned slightly over my teenage years when I discovered boys, alcohol and other exciting things.  After finishing college I studied English Literature in Bristol and then moved to London to complete my Masters in English at UCL.

It was here my curiosity for the natural world crept quietly back into my life after I started volunteering with the London Wildlife Trust in ancient woodland called Sydenham Hill Wood. This helped me rediscover my love for wildlife and, although I had always wanted to be a writer, I realised nature writing was my true calling.   Combined with my hobby as a wildlife artist, I wanted to try and communicate the wonders of the natural world to others through my writing and artwork.

Now I produce both of these on a freelance basis for magazines and newspapers, and I also recently appeared on Radio 4’s Tweet of the Day and Kirstie’s Handmade Christmas on Channel 4.

My first book will be published in March, Food You Can Forage with Bloomsbury books, and I am about to be commissioned for my second - a narrative non-fiction book on our relationship with the night sky.  

Nicola:  You grew up in the chalky hills of the South Downs.  How did this inspire what you write and teach about today?  

Tiffany: I’ve spent most of my life in the South Downs, having now returned here after a few years away in Bristol and London. For me, it's a magical landscape bursting with wildlife, culture, and history. So many of my childhood memories originate from adventures outdoors in woodlands or along the coast, finding badger skulls and collecting conkers.

It was recently recognized as a National Park by the government, and I think this reflects how vibrant the area is. From the haunted yew trees at Kingley Vale to the flower-smothered gardens of Lewes, the South Downs are a huge part of who I am and will forever weave themselves into my work.

Nicola:  Describe to us why nature is so important to you, and your passion for engaging others with the natural world.  

Tiffany: It’s been said a thousand times over the last few years, but Nature Deficit Disorder is becoming a real problem in our society. Studies have shown that when we choose not to spend time in nature it affects our mental and physical health, as well as disconnecting us from our natural roots and rhythms.  When I hear a great tit’s see-saw song in late winter, and know that spring is almost here, I am filled with the most intense sensation of joy that not even a stuffed crust pizza or photo of Harrison Ford (Blade Runner-era) can replicate.

Everyone can benefit.

From spending more time in nature and, aside from the positive effect it can have on our wellbeing, it is essential to the future of our planet. David Attenborough once said: ‘No one will protect what they don’t care about, and no one will care about what they have never experienced.'

I want to secure a healthy environment for my children and grandchildren, and I hope that my writing and art will inspire others to cherish wildlife and nurture a new relationship with the natural world.  

Nicola:  Can you tell us about where you live and what a typical day looks like for you at the moment?

Tiffany: My days are extremely varied at the moment and, in the words of Prufrock, tend to be measured out ‘with coffee spoons’.  I live in east Hampshire with my partner, right in the middle of the South Downs National Park. We live in a little flat in the pretty market town where we both grew up, although we didn’t meet until many years later!  I’m currently in an exciting but scary stage of my life, as I recently made the decision to leave my job and pursue a freelance career with my writing and art. So over February, I’ve been tying off the loose ends at my job at Butser Ancient Farm, where I’ve worked as Creative Developer for over three years.

From March onwards I'll be spending most of my days writing, painting and getting distracted by the long-tailed tits hopping around outside our window, as well as spending lots of time outdoors for inspiration.  I try to find time to go running a few times a week (something I only discovered recently), and I enjoy riding around the Hangers on a friend’s horse that I help look after. I also have an exciting calendar of talks, festivals and events lined up for this year, so I’llbe preparing for those and traveling around the country over the spring and summer months.

 Nicola:  Your first book, Food You Can Forage, is due out on the 8 th of March.  Can you tell us what the book is about and why you wanted to write it?

Tiffany: My first book is all about foraging wild food and embracing the countryside, something that I am passionate to share with everyone.  In my experience, foraging can often seem intimidating to beginners, or something they associate with horror stories in the news. But foraging can be an adventure for friends and families at any age, and I wanted to present it as a relaxed and rounded hobby that takes you outdoors into the countryside and ends with something delicious on the kitchen table. I really wanted to celebrate the hobby as a new way to engage with the natural world, so I also included sections on different habitats, what wildlife you can spot, folklore and mythology, my own illustrations, photos and a selection of tested recipes at the back.  

I think the best thing about foraging is that it can unite everyone through a shared love of food.So even if you aren’t naturally drawn to spending time outside, this might entice you to take a walk in the woods in search of a moment of wildness.

Nicola:  What did you enjoy most about writing your book?

Tiffany: It has to be writing the recipes! There are twenty recipes in the book, and I couldn’t help including two of my favourite food groups: booze and cake.  We had hours of fun testing samples, deciding which type of gorse petal mead tasted best, or how much icing to drizzle over spiced elderberry buns. I’ve never written recipes for publication before but I love cooking and spending time in the kitchen, so it was brilliant to be able to share some of my favourite creations. I really wanted to include recipes as it makes the art of foraging so much more rewarding when you can transform your discoveries into a snack or meal, rather than just harvesting things and leaving them to wilt tragically by the coat-rack.

Nicola:  And finally, if anyone reading this has a creative dream they would love to follow, what advice would you give them?  

Tiffany: In my experience, being able to pursue a dream in the creative arts is all about opening yourself up to the universe. There are so many wonderful writers and artists in the world, each with their own voices that need to be heard, but I’ve found that the most successful artists I know are those that are proactive, seeking out opportunities for themselves.

 My book deal actually came about through a lucky encounter - I wrote a blog post on foraging that was seen by the right person at the right time, and I’m grateful every day for that jammy moment that changed my life. But before that I spent many years throwing everything I had out into the abyss, writing and painting and creating things that I hoped would lead to new opportunities.

I went to networking events, joined online forums, interacted with others on Twitter, and tried my best to share my work with the world in the hope that it might lead somewhere - and it did!  I would encourage everyone to keep creating, particularly at a time when the world needs hope and creativity more than ever, and to try your best not to let the more mundane routines of life squeeze out precious hours of creative time. I’ve always believed that everything happens for a reason, so long as you are in tune with the world and keep your heart and mind open to new opportunities.

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Nicola:  I’d love for you to start by telling us about the work you do and your journey to where you are today?

Rhiannon:  I make my living as a poet in the Welsh borders.  My first book, The Other City, was published by Seren Books about a year ago, and was recently shortlisted for the Wales Book of the Year award.

I think my path to this point has been focused on learning more than anything else.  I studied for a Master's and then a PhD in poetry, and worked in academia for a long time, learning all I could about my craft and teaching others in turn.  But a few years ago I decided I wanted a break from academia and went to live in Mongolia.  It might seem a strange choice to make, living there, but my time there was incredibly inspiring.  Living in such a harsh climate (Ulaanbaatar is the coldest capital city in the world, and within a month of living there I had experienced temperatures of minus 40) completely changes your relationship with the world.  It makes you respect your environment in a way that I had never really encountered when living in the UK.

 I'm back in the UK now and have been for several years, concentrating on writing rather than teaching.  Writing can be a solitary career, but it gives you tremendous freedom, and I've been lucky enough to live in some wonderful places while doing it, and have taken endless inspiration from the landscape around me.  

Nicola:  You describe yourself primarily a poet. Can you tell us about the poetry you write, and where your inspiration comes from?

Rhiannon:  My book is a collection of poetry, so the subject matter is diverse, though there is a thread of a theme that emerges if it's read as a whole.  I was interested in the idea that our creative process could be described as a physical space to be traversed as part of the act of expression, and the deeper I delved the more my own creative process expressed itself as a city: foreign, unknowable, ineffably other.  

This idea of otherness is one that I return to a lot.  And to me, as someone who has grown up in the countryside, the idea of a city will always be something other.  The poems themselves draw on mythology and the natural world a lot: the little signifiers of the year as it turns, the history of the landscape, our relationship with it.

 Although I'm from Wales, much of the book was written while I lived in Cumbria, so there's a lot of that wild landscape in there, and some of it springs from the time after that when I moved to Mongolia.  The first Mongolia-inspired poem I wrote, Daughters of the Dust, appeared in the Guardian alongside a wonderfully perceptive essay about it by Carol Rumens, which was definitely a highlight of last year. In the past few months I've started working on my second book, The Ragged Kingdom.

 It's daunting in some ways to try to follow a book like The Other City– I worked on it for nearly five years, and I'm incredibly proud of it and the reception it's had.  So far this new book is a little quieter, a little less academic.  I'm full of ideas and inspirations, but I don't know exactly where the book is going yet.  It's a nice place to be in because there are so many possibilities, but one thing that keeps appearing is this sense of liminal space, of between-places – it's very much a border country book.  

Nicola:  You also make jewellery and are an artist. Tell us a little more about this work.

Rhiannon:  Although my first degree was in Fine Art, I didn't really start producing my own art again until I hit my thirties.  I find it incredibly fulfilling to be able to make something with my hands once in a while, after spending most of my time on purely cerebral work.  Making the switch from fine art to a craft was what really made the difference to me – it felt very freeing.

 As a painter I had sometimes struggled with overworking pieces, getting caught up in tiny details, and working as a jeweller allowed me to turn that weakness into a strength.  I work in recycled leather that I dye, paint, embroider and embellish with gold leaf and semi-precious stones, making tiny pieces of unique wearable art.  I also utilise found objects from the natural world, like tiny pieces of driftwood or whittled twigs, and miniature river pebbles from the stream nearby.  

I love the act of treating natural objects as little treasures, but medieval portraits and their rich colour palette also inspire me.  My favourite pieces are the miniature portrait pieces I make, each one has its own individual character.  Because they're painted and stitched by hand, they're something of a labour of love - each one is only about two inches tall, but represents many hours of work.

Nicola:  Can you tell us about where you live, your workspace and what a normal day looks like for you?

Rhiannon:  I live just outside a tiny town on the border between Wales and Herefordshire, in a small cottage that backs onto fields at the foot of a tall hill.  I'm the sort of person who likes to know the names of the hills I can see from my windows. I'm not a notebook poet.  I divide my writing time between composing in my head while I'm out walking (usually with my little Yorkshire terrier, Pippin), to get a good solid beginning, and working on my laptop in my study. 

I know some writers like to write out poetry by hand in a notebook, but I find that in order to get a grip on the rhythm of the piece, the shape on the page, I much prefer to see the words on a screen.  I'm also very fussy about sounds: I like complete quiet.  Even someone's footsteps can put me off my rhythm. No poem comes out perfect the first time: the vast majority of my work consists of editing, which is less glamorous but incredibly satisfying.

 Working on a poem is like chipping away at unnecessary words until all that is left is the core of the piece, as close to perfect in specificity as it is possible to get. Being a poet entails a lot of traveling too: most of my income comes from making appearances at literature festivals and events all over the UK and further afield to read my work, talking about it with interested groups, writing other things (like interviews and articles) and teaching workshops.

 A fair number of my working days start in a train or even a hotel. So there's no simple answer to that question in a way.  I don't really have an average working day, which is something I love about being a writer. Poetry is wonderful in that inspiration can come from all kinds of random places, so I don't feel bad about spending a day exploring the countryside on foot, or taking my sketchbook out to one of the little half-timbered villages over the border in Herefordshire.

 I also have a lovely job running the local library one day a week, which is perfect, as I get to spend the day talking about books.

Nicola:  I’d love to know more about the relationship you have with nature and why it is important to you?

Rhiannon:  In my early twenties I lived in Lancaster.  It's a small city but I lived in a part where you couldn't actually see any green space.  I felt completely cut adrift: until then my life had been punctuated by the world's natural rhythms, and it wasn't until I lived somewhere they did not reach that I realised how bereft I felt without them.  I wanted to be able to look out of the window and see the  leaves changing colour, to smell snow on the way, to spot the first snowdrops and see harebells growing in August and know that summer had reached its zenith.

To me, a meaningful existence is one that includes these things.  It only feels right to engage with the world on its own level, and I know from experience that nothing is as beneficial to my mental health as time spent out in the natural world.  

I've always been drawn to the wilderness, to those places at the very edge of human habitation where our influence gives out.  I wouldn't go so far as to suggest this kind of wilderness can be found in Wales, but the county where I live has one of the lowest population densities in the UK, and that suits me well.  

When I was first flying out to Mongolia, as the plane started its descent, I looked out of the window and saw the steppe unfolding beneath me – a massive, rolling plane of dark grass, with only tiny sparks of light betraying the little groups of gers.  I was struck by the enormity of the space and the ephemerality of the dim lights.  

I think that sense of awe in the face of nature is one that I've been trying to capture ever since.

Nicola:  If you could leave our readers with one piece of advice about following their creative dream, what would it be?

Rhiannon:  To work on your output – no matter what it is – until you are confident in it.  I often hear beginner writers making excuses for their work or second-guessing it, but all this really does is make other people less interested in engaging with it.  It also tends to disadvantage girls and women: men are taught to be much more confident, and they present their work as more competent.  So make sure your work is as good as it can be, and then stand by it.  Learn to realise when your work is excellent, and never apologise for it

Visit Rhiannon's website, follow on Instagram and see her book.

Nicola:  Can you start by telling us about the Simpson Sisters?  We’d love to know what you do and how your business came about?

Vanessa: The Simpson Sisters began as a way for me to utilise my skills and experiences in a way I enjoy. I had many different jobs over the years, but often felt trapped by the constraints of office life. So about 18 months ago I took the plunge and decided to work for myself.

 I now run creative workshops, either at my home in Bristol or at our Oak Tree Barn in the North Somerset countryside. The workshops are fun, and the groups warm and friendly. You can learn anything from knitting to sewing, to creating hand-made products.  

I have always loved creating a beautiful home environment wherever we have lived. To now have both our homes filled with happy people is the icing on the cake, and feels natural to do. My hope is that people will leave my workshops feeling more content and at peace. Much the same as a day at the spa, minus the chlorine and massage! Keeping things simple, and taking time to be creative, leads to contentment. Happiness comes in moments and is contrasted by other emotions.Contentment is more holistic and, I think, more important. To be creative doesn't mean you have to develop intricate skills. It is the simple act of making things that are satisfying.  

Nicola:  You are a country lover who is also a city dweller.  Can you tell us how you combine the two, and where your heart really lies?

Vanessa: We never intended to have two properties, or indeed two so close to each other.Life just worked out that way in an endeavor to create stability for our daughters in their final years of school. My husband doesn't work in either location and spends his weeks away, so it's not perfect. But we try to make the most of both places.  Bristol is vibrant, energetic and creative, and offers something for everyone in the way of city life. It has restaurants, theatres, entertainment, shopping, and sports.

Our daughters love being at school in the city, as well as only being a bus ride away from everything. I started offering workshops at our home in Bristol before the barn in North Somerset was complete. We are lucky enough to have a big kitchen and a lovely extendable table, so the workshops work well here too.

 I spend a lot of time in the barn and enjoy being there when I’m writing, or need some thinking time. As I write this I'm excited we have a little landscaping going on. It will give me some beds in which to plant a cutting garden. Actually, there is much more than a cutting garden to plant, but I reassure myself that one thing at a time is ok. I'm inclined to want to finish everything as soon as possible. This is partially a result of us never living anywhere for very long. The barn project has really stretched my 'patience muscle', which has been a bonus! 

In truth, the country is where my heart lies. From a practical point of view our chickens live there, so we need to make regular visits anyway! Splitting my time between the two doesn’t always make sense, but at the moment it is working. Luckily my parents live nearby. They are more than happy to offer chicken sitting in exchange for eggs when I can't get out to look after the chickens myself.

Nicola:  You spent a lot of your adult life traveling around the globe due to your husbands work.  Tell us where you have been and what you have learned from your travels?

Vanessa: I’ve always been curious and happy to try anything, so travel has been a natural part of my life. At 16 I took myself off to New York for six weeks. Then at 18, inspired by Lynne Reid Banks book 'The L-Shaped Room', I spent four months living on a Kibbutz in Israel. At 25, when my then boyfriend (now husband) accepted a secondment in Melbourne, Australia, it didn’t take me long to follow him .It is now more than 20 years since we came home .In that time we have lived in Munich, Johannesburg, Brussels, and Stockholm, along with the odd stint in the UK. We have had many wonderful opportunities and experiences due to the work he does. It’s fair to say though that living in a different country with children is not the same as 'travelling.’ 

Making a new life in an unfamiliar place and culture can be challenging. Expat life is not as glamorous as some might think. But it is the most amazing way to meet a variety of people, and I feel lucky to have friends all around the world. I acquired a variety of skills along the way. I speak a little German, French, Flemish and the odd Zulu word! I am a dab hand at moving house and can pack a box as well as any removal team. I have had to be brave and put myself in social situations that felt uncomfortable, but which I rarely regretted. I have also developed confidence, resilience and an appreciation of what is really important in life.

As much as I am fond of the many bits and pieces we have accumulated along the way, and how they tell our story within our home, what really matters is people. People like family, friends and all those who have shown us great kindness and generosity over the years. I have a firm belief that the vast majority of people are good, and mean well most of the time .I have had to ask near strangers for help in various situations, and have never been met with anything but willingness. For this I have been immensely grateful time and again. 

Nicola: I'm fascinated by the barn you have renovated and from which you run your country workshops. Can you tell us the story behind the barn and what it means to you?

Vanessa: I grew up in the small village in which the barn is situated, and could see it from our bathroom window as a child. A local builder built the barn in the late 60s on the pretext of it being an agricultural building. In reality, it was constructed with the intention of becoming a dwelling house. On its completion, there was a long, bitter planning dispute between the builder, the parish and the local authority. The barn was eventually abandoned and left to vanish underneath a bramble mountain, much like Sleeping Beauty’s chamber!

When we returned from Australia my husband and I made enquiries into gaining permission to convert the building into a home.We were clearly told that this would not be possible! My father, however, saw an opportunity to get a change of use for a small part of the barn and to work from there. He took a risk and purchased the property. He was successful in his application and spent years with a little office there. Time ticked on and my father retired. The barn was then let for various uses, including painting workshops and a preschool. 

I don’t remember a time when I didn’t wistfully think about how lovely it would be to convert it into a home. I have drawn a thousand floor plans in many different locations. Some days I think I almost dreamt it into its current existence.

My parents moved from the village to a small house not far away a few years ago. At the time I begged them not to sell the barn, but to give us the option of purchasing it. It was illogical as there was no prospect of being able to live there. At the time we were abroad. But they capitulated, and my lovely husband was mad enough to agree that owning a place in the UK might be a good idea.

We took a risk, but we also got lucky. Shortly after purchasing the barn, the government announced an amendment to the permitted development regulations. On the back of this, we gained planning permission to convert the barn into a residential dwelling. This simplifies the two-year process somewhat, but we got there in the end! I’d be lying if I said that the conversion itself went smoothly. It felt pretty tortuous to be honest, and from time to time we wondered if we were making a huge mistake. 

When we started the process we believed we would be overseas for the foreseeable future. Our daughters had started boarding school in the UK for stability during their GCSE/A Levels, so a base nearby made perfect sense. The barn is small but big enough for family weekends. Having had a rather transient life it was important to me to have a place where we could spend time together. I also wanted somewhere to make some special memories before the girls left home.

 I’m never quite sure what it is about the barn that makes it such an important place to me. I don't know whether it’s the fulfillment of a long-held desire, or because it is where I grew up and feel rooted. It might be a combination of the two. I love knowing that my familial home is over the fence. The school I attended is up the road, as the Church in which I was both baptised and married. It takes time to become part of a village community and we are looking forward to doing so. There are still many people around whom I have known my entire life and I find this comforting.

Nicola:  We’d also love to hear more about the workshops you run and whom they are for?

Vanessa: I have been fortunate to collaborate with others who have a wide variety of skills.They have been happy to share workshops from Christmas canapés to lino printing, simple silversmithing, and sugar flowers. 

The workshops I curate are, most importantly, a chance to spend a day in good company.My priority is for people to feel happy and comfortable while enjoying the opportunity to learn or try something creative. I often wonder if the word ‘creative’worries people, and whether ‘making’ is less intimidating? However, any skills required in Simpson Sister’s workshops are easily learned.Nobody needs to have any experience to book a place and enjoy the day.

We always start with tea/coffee and cake and stop to enjoy lunch together.I believe that sharing food and chatting is one of life’s great pleasures. I love baking and often try out a new recipe for the workshops. This has admittedly caused some panic-stricken moments from time to time! 

2018 is looking great already.I have some exciting collaborations planned and am delighted to be hosting some inspiring people who have chosen to run workshops at the barn.

Nicola:  To finish we’d love to know what you have learnt about running a small business, and what advice you would give to those who dream of doing something similar?

Vanessa:  One of my greatest lessons has been to pace myself and not feel that everything has to be done, or be perfect straight away.  As a ‘solopreneur’ you do everything and it’s impossible to be an expert in all areas. When I think about what I have learned since I started The Simpson Sisters I feel quite proud.

On reflection, I believe that having a growth mindset is my biggest asset. I could have given up on many occasions and found myself another job. But I allowed myself to believe that if others could do it so could I, and I’m slowly reaping the rewards.

I would encourage anyone to have a go at running his or her own business, but I’d also like to be honest about how hard it can be. Social media can lead people to believe that everything is going well, but of course, it isn’t all plain sailing. I’ve made errors of judgment and have had to cancel workshops. I’m also usually too scared to look at the statistics to see if anyone reads my blog posts!

Being able to admit that we don’t know everything is important.I have joined a couple of local business support/networking groups, which has been immensely useful. It goes without saying that there are endless online resources. The trick is in identifying one that resonates with you and getting too distracted. 

I have a feeling that The Simpson Sisters, like so many small businesses, is part of my bigger picture. Right now it sits happily alongside my family life, volunteering and allowing myself to explore a simpler, more contented life. But I’m only too aware of how unexpectedly life can change.So who knows what the future holds for my business!

Find out more:

Website: www.thesimpsonsisters.co.uk

Facebook: www.facebook.com/SimpsonSisters

Instagram: www.instagram.com/simpsonsisters

Nicola:  Can you start by telling us about your journey as a photographer, and the work you do today?

Anya: I have always had an interest in art, and my undergraduate degree was in Illustration: Visual Communication. Photography has been a natural progression. I used to experiment in my teens with the basic point and shoot digital cameras. Then for my 20th birthday, I received an entry-level DSLR. At the time I used the photos I took to create reference material for my drawings. It wasn't until after I graduated that I began taking photography more seriously.

 After I graduated I found myself unemployed, so I started a blog as a creative outlet while I looked for work. I loved reading other people's blogs and looking at their amazing photography. This inspired me to start sharing my own posts. I would also try to figure out how the beautiful photos I'd seen had been taken.The frustration of images not turning out how they looked in my head pushed me to keep experimenting and learning. I got my first freelance job for an advertising company off the back of my blog. Despite not feeling like I was good enough, I threw myself into my work and have never looked back. I now do a variety of things, including product and lifestyle shoots. But my real love continues to be photographing nature, wildlife, and landscapes.

Nicola:  I know nature is a huge inspiration for you in your work.  Can you tell us what you love most about being in nature?

Anya: It is like a reset button for me. Being immersed in nature fuels my creativity and imagination. It also has a positive impact on my mental health. I am very much an introvert and find it draining to be around a lot of people. When I am out in the countryside, and close to wildlife, it fills me with energy. It is also where I am the happiest.

Nicola:  Can you tell us a little more about where you live and what a day in your life looks like?

Anya: I live in Sheffield in the north of England, right next to the Peak District National Park. I wanted to live here after graduating because it is the best of both worlds. I have easy access to the benefits of a large city, but within a short drive, I can be in the countryside. When I’m in the countryside I feel like I'm a hundred miles away from the nearest person.  I work as both an illustrator and photographer, so no two days are the same. One day I could be doing freelance jobs and travelling. The next I could be editing shoots or working on commissions. One thing that is constant in my days is walking my little Jack Russell dachshund cross, Doug Pickles. 

Nicola:  I know you have just bought an allotment or rather an overgrown jungle as you describe it!  Can you tell us that story and what plans you have for it?

Anya: To be honest, the main reason I wanted an allotment is because I love to eat! The second is because I find working with things that grow to be calming. Gardening is one of the few activities where I properly zone out. I also love that feeling of eating something you have grown from a tiny seed into a mature plant. It is so satisfying.  I tried growing fruit and vegetables in my own small garden, but it doesn't get a lot of sun. It also has two huge sycamore trees at the end of it. Applying for an allotment seemed like a necessary step in fulfilling my gardening dreams. Although I didn't expect to end up with 280m² of wilderness!

Once it's been cleared (which is taking way longer than anticipated!) I have many plans for it. I want to plant out fruit bushes and get a polytunnel for plants like tomatoes and cucumbers.I also want to grow my own little pumpkin patch ready for October, along with lots of other weird and wonderful vegetables.  

Nicola: You spend a lot of time hiking and exploring with your camera in tow. Where are some of your favourite places to go?

Anya:  It's hard to choose because I'm lucky to have so many amazing hikes nearby. In the Peak District some of my favourite places are Bamford Edge, Castleton, the wilderness beyond Howden Reservoir, Win Hill and Wyming Brook.  I'm constantly sharing images from all of these locations on my Instagram.

 Nicola:  And lastly, what message do you want to share with people about nature through your photography?

Anya:  I want people to take joy in the quiet and the slow.  I want them to really stop and look.  It is not always about reaching the end destination but discovering the beauty and surprising little encounters along the way.

Find out more about Anya here:

Website

Instagram

Pinterest

Facebook

Image above (c) Tegan Jane Photography

Nicola: I’d love for you to start by telling us about yourself, where you live and how The Shady Baker came to be?

Jane:  I am a baker, vegetable grower, blogger and farmer who loves to take photos and write about food. I live on a sheep and cattle property with my husband Terry, and our two children Annabelle and George in outback New South Wales, Australia.

In 2011 I contributed some recipes to a friend’s website. From there I realised I could start blogging independently.  I began with a very basic blog called The Shady Baker.  Gradually I started connecting with like-minded bakers, mothers, vegetable growers and interesting women.  Living in a slightly isolated situation, my blog gave me an opportunity to be creative and share my life with a generous online community at any time of day or night. 

The Shady Baker has recently had a complete overhaul and nowadays is more a journal about life with the occasional recipe.   

Nicola:  Your blog is full of delicious, simple recipes.  Why is cooking fresh and wholesome food important to you, and what message do you want to share with others through your recipes?

Jane:  Cooking fresh, wholesome and seasonal food makes sense and fits into the natural rhythm of life.  Cooking is about providing food for my family, which not only keeps bellies satisfied but gives comfort and creates lasting memories.  Living some distance from the nearest supermarket requires resourcefulness with regards to food.  Cooking thriftily with what is on hand and minimising waste is necessary, rather than just a feel-good notion.  

I have a large vegetable garden so cooking with the seasons is something that happens naturally. Our children have an amazing knowledge of growing food, without me having to teach them. 

My message is that preparing food from scratch is always healthier, cheaper and more rewarding than processed, packaged food.  With some basic skills, seasonal ingredients and a little prior planning, it really isn’t difficult.

Nicola:  Can you tell us about the farm you live on and what a normal day is like living in the outback of Australia?

Jane:  Our family owned property is located east of Broken Hill in western NSW.  Our main business is Merino sheep and Hereford cattle. 

I am up at 6am and the day always starts with ABC radio, a pot of tea and breakfast before the children get up.  I find this quiet time in the kitchen important to plan and organise my thoughts for the day ahead.

In the early hours, I might prepare meals for the workers that help us, check my vegetable garden or feed pets.  This is always accompanied by the soothing sounds of my coffee machine warming up.

By 8.30am my youngest child and I get down to the business of distance education schooling through School of the Air.  This involves me delivering George’s lessons, which have been sent out in advance from his teacher based in Broken Hill. 

In between schooling, I deliver food to the paddock for my husband and his work crew.  I might drive around our water tanks and troughs checking for problems.  You could also find me helping out with a mob of sheep being brought into the yards.  Or attending to school administration, my garden, the fruit trees, or our sheepdogs and horses.  My days are varied and largely depend on the season and what part of the farming cycle we are in.

My spare time is devoted to photography, writing and baking projects.  And of course family time!

Nicola: your photography is beautiful and your Instagram account is one of my favourites.  Has photography always been an interest of yours, and from where do you draw your inspiration?

Jane: My interest in photography was ignited around the time I started blogging.  Blogging has inspired me to continually improve my photos.  My husband has been very supportive and enthusiastically bought me my first DSLR camera.

I resisted joining Instagram for years because I knew it would become addictive. However I eventually weakened, and now, of course, I’m addicted!  The power of Instagram still amazes me.  It has helped me make friends, reinforce existing friendships and it has brought many work opportunities my way.  It is such a wonderful place to showcase skills, talents, and interests, in a way that is easily accessible to the wider community. 

My inspiration comes from everything I see around me, and the beautiful light we are lucky to experience. It might be the last rays of sun falling on my vegetable garden; it might be everyday work with our livestock, or my children with their pet animals.

Nicola: I know you write for Graziher magazine.  Can you tell us a little more about how this came about?

JaneL Claire Dunne, the editor of Graziher, initially found me through Instagram.  At the same time, I was following the launch of Graziher closely through social media.  I was thrilled to be featured in a profile story for their second issue, and Claire also asked me to contribute a recipe with photos. 

From there I have been fortunate to obtain a regular spot contributing recipes and photos for each quarterly issue.  This is a dream job as it is something I can do from our property, although I have been known to travel chasing perfect autumn leaves or spring blossom!  Working for Graziher challenges me to write achievable, reliable recipes and take engaging food photos, all while keeping within a seasonal and rural style. 

Graziher is an independently published magazine presenting stories about women who love the land.

Nicola: And lastly, we’d love for you to share why you love living off the land, and what the most fun part is?

Jane:  I love being constantly surrounded by the natural beauty of our property.  We have endless horizons, red dirt, blue skies and freedom that many people can only dream of.  Even during the driest and hottest times, when the landscape is harsh and unforgiving, I can still see the beauty in the sunrises and sunsets, and in the hardy plants and animals. Living off the land keeps us closely connected to the cycle of life, both the triumphant times as well as the heartbreaking ones.

The most fun part for me is having the independence to live our lives and raise our children in the wide open spaces with no traffic, shopping malls or noisy neighbours. The moments spent catching yabbies, riding horses and hosting lunches in our paddocks make up for the long hours and unpredictable nature of farming.  As a family, we are part of a hardworking, resilient community who we can rely on.  I can’t imagine ever swapping our lifestyle for suburbia.

Jane Smith

Blog:                    The Shady Baker

Instagram:          @theshadybaker

Writing for:        Graziher magazine