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Interview: The Laughing Cactus

Mandeep Dhadialla reflects on how the contrasting landscapes of the Kenyan and British countryside have influenced her printmaking process.

As a child growing up in 1980’s Kenya where television, music and fashion were lightyears behind other countries, where people were never permanent in place due to the nature of their work - much like being in transit at an airport - I was fascinated with the outer world. Curious and with an adventurous spirit, my vivid imagination would take me to places far beyond the hot, cracked, red soil, creating a playful world in outdoor dens made from metal pick-up truck frames, sheltered from the equatorial sun by a canopy of laundry drying out. Trees, plants, wildlife and drawing fuelled my play and filled my days - little did I know that I would return to it almost thirty-five years later as an artist printmaker, that the landscape would nurture me and become my constant throughout the seasons of my adult life and that it would also lead me to pursue a Fine Art degree.

Fast forward steadily to 1993 and the exciting news that my siblings and I were to move to England for further education, living with my grandparents - music to my teenage ears, literally. The excitement extended to the mere thought of the corner shops I could freely walk to for a bar of chocolate; a novelty indeed. Suddenly my fascination with the outer world was at my fingertips: it became mine for the taking.

However, all this change and joy came with sacrifice - living apart from my parents and brother. Having two homes, we would adopt a nomadic existence. We would make trips to Nairobi, or they would visit us in England, for a few short weeks a year. Technology wasn’t as efficient as it is now, especially in Nairobi; posting letters, sending faxes and making numerous phone calls became a part of our daily life to keep in touch. Over the years I grew to love the British landscape for all its contrasts and how easily within reach rural tranquillity was. Each moment of happiness being immersed in middle-England countryside was exchanged for a sinking feeling on each trip back to Kenya. I would notice the obvious changes in the slowly diminishing equatorial landscape giving way to developing infrastructures. Nairobi was advancing and I felt like a tourist in my own country of origin, having to re-learn new routes of getting from one place to another.

Feeling out of touch with people and place translated to feeling out of touch with the changing landscape, which hit harder. The Kenya I grew up in, created my dens in, spent my days drawing in, seemed to be drifting away from me. A disconnect within me was occurring. It was this sense of ‘loss’ that acted as a catalyst for my Garden Plants of Kenya series of relief prints, reviving, renewing and reminding me of the nurturing constant that is the natural landscape. I would return each time with sketchbooks, photographs, and an evolved way of appreciating the Kenyan botanical world, starting with my parents’ back garden.

Living with one foot in Kenya and the other in England, I began to question my sense of belonging. Largely this was with friends over a glass of wine and a home-cooked hybrid of Kenyan-Indian cuisine (often trying to re-create an authentic chicken curry “karoga”- cooked over an open fire - and never quite hitting the mark, with a side salad of ‘kuchumbari’ which I nailed).

These conversations, combined with a yearning to revisit my printmaking practice, encouraged me to examine this concept more closely. In turn it led me to shipping myself and my studio to Kenya, setting up camp in my family home and all the glorious surroundings that came with it. It was the medicine I needed to renew my soul and mental wellbeing from another of life’s seasons.

Since May 2018, I have been working on the Garden Plants of Kenya series of linocuts based on my nine-month trip to equatorial Kenya. A chance to immerse myself in my printmaking, to build a body of work around a subject about which I feel incredibly passionate.

Spending my formative years in Kenya and visiting annually has given me the valuable opportunity of observing, connecting with and absorbing the surrounding natural beauty found within urban, back garden flora. Exploring the concept of a “sense of belonging” naturally progressed to “what translates as a sense of home, place and comfort?”. I drew and photographed natural light effects on commonly found plants dotted amidst the red soil, showing them dappled by equatorial day light and at dusk.

I tend to work intuitively. A reduction linocut print begins with an initial, loose plan of the colours and number of layers involved. The print then evolves naturally as layers are built up from light to dark or taking them down again from dark to light.

Some linocut prints incorporate a monotype technique of inking up the blocks as in a painterly approach, blending colours directly on the lino block, resulting in unique prints within an edition. The colour palette is often exaggerated to reflect the glowing equatorial light and its luminosity on plants, enhancing the vibrancy of their colours.

The Garden Plants of Kenya has since given birth to a series of prints which have enabled me to develop and revive not only my “lost love” but also my individual skill, technique and style. The warming internal glow transferred to the prints I make of the British countryside. Despite the stark contrasts in landscape between the two places I call home, there sits the same emotion of a beauty which hits you in the pit of your stomach, takes your breath away and leaves you speechless. A coming of home.

I have always been astounded by the magic of coincidence and universal timing. Running parallel to this, these past few months have given time for reflection, for navigating the notion of a “sense of home, place and comfort.” Especially apt during lockdown. Many, including myself, are rediscovering an emotional connection to this sense of security within our homes, borne out of physical limitations. Contact with friends and family moved to a virtual land. Amidst this we found ways to still keep our hearts warm, sending happy post to our loved ones. My little niece and nephews would post out drawings and even a small dinosaur toy at one point (with strict instructions to play with it every day), and I would send simple art packs to keep their creative minds full of curiosity and adventure.

We kept this going for a while. And boy did it fill my heart right up with joy when I’d excitedly open their packages, knowing they’d spent time and energy in making something special, taking me back to being that little girl in Kenya turning the key to the post office box with my Dad, satisfying my longed-for connection with the outer world.

It’s funny how, in turn, recent events have shown how the simple act of giving and receiving can also contribute to a sense of home, place and comfort - as a feeling of inner-home. In 1980’s Kenya, and it was post offices which provided the link to my fascination with the outer world. Family trips to collect mail from our post office box in central Nairobi were a fond memory, as was eagerly queuing up at the post office to send letters to family and penpals overseas, written on the classic blue and red striped aerograms with pictures of native birds and flowers and adorned with beautiful stamps. Then there was the excitement of receiving a letter addressed with my name, opening it with anticipation of the latest news. This feeling has never really left me: each time I see a handwritten envelope in my letterbox, I know it’s going to make me smile.

As I sit here writing this, I see how the seasons of my life, from my childhood experiences of playing on the hot cracked red soil to falling in love with the British and Kenyan landscapes and flora, have paved the way to where I am now. How the magic of universal timing has brought me to interpret my purpose in a holistic and intuitive way of working, connected with my inner-home, immersed in the seasons of landscapes and plants - all of which ground and anchor my wholeness of what I can offer as a Kenyan-British-Indian artist printmaker.

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Snapdragon social

Stillness is such a difficult skill to acquire.  I suspect that so much of the rushing about that we do is simply an attempt to avoid being still.
For if we stopped, paid attention to ourselves, to the world around us, let everything sink in - well that might be very scary.
But I do think it is the most important skill - a five minute pause, a checking in.  I'm not talking about meditation here - nothing as formal as that - just a stilling and listening and paying attention. Appreciation, recognition, renewal.
It is something that I am very bad at by nature - but I have been taking lessons from Dixie. 

For if a spaniel can relax into stillness, nosing into a shaft of sunshine, then I'm sure I can.
Teasel isn't quite there yet.

#aseasonalway #springerspaniel #springerspanielsofinstagram #slowlivingforlife #lessonsfromdogs #bringyourdogtowork #storiesoftheeveryday
One thing that gardening teaches you year on year is that so much is beyond your control. Some things will thrive, others won’t, and mostly it will be nothing to do with anything you’ve done. 
Some years will be great for one crop, terrible for another. This is a great year for garlic here, awful for beans. 

It’s the same with business - a lot of things happen that are due to the ‘weather’ of the world. We can pivot and turn, change our tactics, Google ‘how to make reels’ and so on - but we can also choose to embrace and lean into what is working well. 

My Friday letter today is about social media and all the ways I’ve used to connect with people over the past 21 years - if you fancy a read you can sign up in my profile. 

And in the meantime I’d love to know what’s growing well for you. Or indeed, what has been a disaster! 

#theartofslowliving #livethelittlethings #nothingisordinary #natureandnourish #embracingaslowerlife #aseasonalway #seekthesimplicity #scotlandsgardens #growyourownfood #cornersofmyworld #greenthumb #rusticgamesttong #cornersofmyworld #simpleandstill #vintagegreenhouse
Each year I have a personal project running.  Something just for me. Something that allows me to experiment and play. 
The first year that I became obsessed with using the plants here to dye textiles - back in 2019 - it was twelve skeins of a raw slubby silk yarn that I  had been hoarding for decades. They became a patchwork cable blanket that now sits on the back of the sofa.
In 2020 it was double knitting yarns, in dozens of colours, knitted into a stripy jumper to keep me cosy in the Studio.
Last year I dyed linens and am gradually making them into patchworks and appliqués - many I am squirrelling away for a project that I may or may not ever begin.
This year I am using mini skeins - in an attempt to keep it more manageable - and exploring the differences in colour caused by the pH of the original extraction. 
There are four skeins for each plant, two for neutral extraction, two for alkali - with one of each pair being dipped in iron to 'sadden' the colour.
If science had been like this at school I might have paid more attention . . . .

#botanicaldye #alchemy #growyourowncolour #gameoftones #plantdyed #naturallydyedwool #plantdyersofinstagram #craftwithconscience
#shadesofnature #extractedfromnature #inspiredbynaturesbeauty #plantdyedyarn #naturaldyedyarn #foragedcolour
This is a tomato salad that was inspired by one I ate a few years ago in a cafe in Mingun, Myanmar,
There it was mainly made with green tomatoes, sharp against the shrimp powder.
In Myanmar the military junta have begun to execute activists arrested after the coup in February 2021. The brutality and violence continue, the quashing of democracy, the corruption. 

11,759 people, arrested after the coup, remain in detention, 78 people, including two children, have been sentenced to death.
You won't usually find much out about Myanmar in the 'fed to you' media, but this week there has been reporting and a Dispatches programme about mass killings  was on Channel 4 on Monday.  The Guardian has consistently been the newspaper reporting most on the aftermath of the coup and you can also follow hashtags like #whatishappeninginmyamar here. 
There may seem little we can actively do about the horrors in the world, but people involved always say that what matters is knowing that people care, bear witness and don’t simply forget when the news cycle moves on.
We always have a slight breeze here - a blessing as it stops the midges flying.
It often gets up at night after a warm day, seeming to breathe its way round corners. 
If you walk through the garden in the evening at the moment, the scent of Lilium regale drifts about you in eddies of spice.

#simpleandstill #capturequiet #beautyyouseek #calm_collected #aseasonalway #aseasonalshift #cornersofmyworld #slowlived #slowandsimpledays #quietchaotics #ofsimplethings #beautyinsimplicity #floralstories #allthingsbotanical #underthefloralspell #livethelittlethings #thehappynow #ihavethisthingwithflowers #moodforfloral #aseasonalway #slowlivingforlife #aflowerfilledlife
The more I travel down this road the more I realise that deciding how you live, which values you honour, what you will prioritise all have to be deliberately chosen. 
You can’t just drift into a slower, more intentional life. 
You can’t buy it. 
You have to make a commitment to actually live it. 
And that’s not always easy. 
It is why I go to events like last weekend’s summer camp @thegoodlifesoc . 
It is also why I surround myself with a supportive community where my choices don’t seem weird.

It is why my to do list today has sitting with a coffee taking in the swoony scent of the sweet peas on it. 

#howihueit #simpleandstill #capturequiet #beautyyouseek #calm_collected #aseasonalway #aseasonalshift #cornersofmyworld #slowlived #slowandsimpledays #quietchaotics #ofsimplethings #beautyinsimplicity #floralstories #allthingsbotanical #livethelittlethings #thehappynow #ihavethisthingwithflowers #moodforfloral #cornersofmyhome #aseasonalway #slowlivingforlife #aflowerfilledlife
This is the actual physical Studio.
It is a little cabin between meadow and wood - a space for creativity and connection a space that I deliberately and intentionally worked towards for a number of years.  There is a sunny deck looking onto trees for the summer, a wood burning stove for the winter.
The Studio is also another thing - it is a club of amazing people who are intentionally prioritising their creativity and connection to the natural world. 
It is a community of great humour, support and inspiration - the best thing that I have ever had a hand in.
The Studio Club is closed to new members at the moment and the doors will open to new members again on the Autumn Equinox. 

I'm currently working with @fbarrows, who is providing a gentle and encouraging outside eye, as I decide on what we will be doing in the club over the next six months.
I've been surveying all the members to find out exactly what it is they enjoy most, what they feel I could do better. 

In this week’s Friday letter I've included a link to a short survey, because I  think it would also be useful to know what people who follow me, but are not members, feel about these things. 
If you get it, it would help me so much if you could take a minute to fill it out - there are only five questions and there is also a bribe . . . .

#slowlivingforlife #simplelife #whereiwork #simpleandslow #creativelifehappylife
The more we actively take time to pause, to sit still and watch, the more we see. 
My Friday Letter this week is all about taking advantage of some unwanted early wakening and starting to use the binoculars which have been hanging on the coat rail for eighteen months.
Twenty minutes with a cup of tea, the binoculars and a lawn full of early birds and their worms.


About Snapdragon Life

In the Studio Club I gently guide you through bringing the changing seasons into your daily life, helping you slow down, so that you can experience increased well being, calm and creativity.

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