I used to travel heavy.  By heavy, I mean when my son and I travelled to the US last year, three of the carry-ons were full of his toys, books, markers, stickers, and puzzles.  It wasn’t that I thought he actually needed all of this for the 11-hour flight, but I was concerned for the welfare of our fellow passengers.  I didn’t want any of them to be privy to a meltdown in the skies.

On the way to the flight gate – a beast of burden carrying my son and these huge bags (so colossal that they didn’t fit in the handy “check if your carry-ons are small enough to be considered carry-ons” guide near the check-in counter, but I winked and smiled at the counter attendant and managed to finagle my way through) – I vowed to find the toy of all toys.  I was on a quest for the ultimate all-in-one little darling’s doodah that didn’t require me carrying half our home, the toy that came complete with bells, whistles and foghorns, with cry-proof gadgetry (for the little guy and me), with harm-proof gadgetry (for passers-by and passengers in the seats near us), and with educational gallimaufry.

A few months after this trip, my son was in hospital and a friend of his let him borrow her iPad.  Complete with games, books and movies, this little rectangular piece of technology became the Apple of his eye (amusing myself with that pun, I am).  This book-sized piece of modern machinery was the toy I had been searching for, the holy grail of playthings.  This extraordinary curio eliminated the need for me to carry 30lbs worth of child amusement accoutrement.

When my son left the hospital, his pa bought him his own iPad.  It was a true blessing as distractor during various tests at subsequent hospital visits.  Almost a year later, and I’m slightly embarrassed to admit that I love his – ahem, our – iPad as much as him.  Don’t tell him, but I occasionally play with some of his apps when he’s not around.  That reminds me, where the heck is that iPad charger?

Here are our five favourite entertainment, game and book iPad apps for little ones right now:

Scribblify
Compatible with iPhone and iPad
Age recommendation:  4+ (if using alone, but if playing with a parent/carer, I think it could be used at 2+)
Cost:  $0.99 in the US, £0.69 in the UK

Scribblify is my and my four-year-old son’s favourite iPad app.  We play with this drawing and painting app the most, and it never gets old.  It keeps him engrossed for at least an hour at a time, and the art pieces he creates really are amazing.  My dad told me David Hockney creates exhibition-worthy art on iPads, and as I perused Sir Hock’s creations, I have to admit that I thought to myself that my little guy’s masterpieces are worthy of an exhibition.

This app does not require any artistic abilities to create figurative, abstract, surreal, or scenic art pieces. With effects, 28 different brushes/textures and hundreds of colours – varying values, combinations of colours and custom blends – children and adults alike are only limited by their own imagination.  And although the age recommendation is 4+, if a parent is using Scribblify with a little one, a munchkin as young as two could easily enjoy the app.  We love the horizontal, vertical and quadrant mirrors.  Remember when as a child, you’d fold paper in half, cut shapes with scissors, unfold the paper, and see the mirror shapes on both halves?  Well, imagine that, but in electronic form.  We also love the fact that we can share Enlai’s  works of genius with friends and family on Facebook or by email.

Drawing Pad
Compatible with iPad
Age recommendation:  4+ (if using alone, but if playing with a parent/carer, I think it could be used at 2+)
Cost:  $1.99 in the US, £1.19 in the UK

This portable art studio app is delicious.  Whenever my little guy chooses this app, I become the kid in the candy shop.  If you and/or your mini-me have any sort of art appetite, this will satisfy your hunger.  Enlai loves opening up the electronic drawer filled with brushes, pencils, crayons, a blending tool (we call it “the smudgy”), markers, stamps, paper, stickers, and rubbers (erasers for my US compatriots).  When any one of the tools is tapped, a range of colours is presented.  The coloured pencils alone offer about 60 different hues.

Nevermind that Apple chose Drawing Pad as “iPad App of the Week” in several countries, or that it has been featured on nytimes.com, usatoday.com, and awarded Editor’s Choice Award from Children’s Technology Review.  What I – a mama whose role often includes acting as foremost funmaker and principal picker-upper – love about this app is the fact that it keeps my little fella entertained for at least as long as it takes me to do some cooking and washing, and sitting down to take a breath and doesn’t present a whole new mess to clean up.

Enlai taught me how to use two fingers to rotate and resize the stickers, and he sometimes magnifies the stickers so much that they become the background for his drawings.  He loves that he can save his art should he be interrupted – potty breaks happen, as do meal and bath times – and reload it later to continue his touchscreen tour de force.  And just as we can with Scribblify, we are able to share Enlai’s art with friends and family on Facebook or by email.

Elmo’s  Monster Maker
Compatible with iPad
Age recommendation:  4+(my opinion is that if shown how to use it a few times, a toddler aged 3+ could use it alone, but if playing with a parent/carer, I think it could be enjoyed at 1+)
Cost:  $3.99 in the US

We both laugh out loud every time we use this app.  Elmo prompts us to select one “blank” monster from a choice of five and then to decide on something for the top of the head, the eyes and the nose.  The choices alone make us giggle, including Elvis wigs and lampshades for tops, fried eggs and Groucho Marx glasses for eyes, and disco balls and butterflies for noses.

We go into chuckle overdrive once our monster is created because we are then given the option to allow him to dance, pose for a photo, or play.  If we choose the former, the monsters dance to different tunes, from polka to country to some 80s keyboardy tune.  Some of their dance moves and dance faces have me in stitches.   If we opt for Elmo to snap a photo, he asks the monsters to say “cheese”, the screen momentarily goes white (as if an actual camera flashes), and the shot – complete with different backdrops – can then be retrieved in the iPad photos.  Enlai’s favourite is the play mode, when Elmo comes out to play with the monster.  He sometimes says “boo” and startles the monster or does random things with the monsters, like ducking so as to miss a rubber chicken or pretending to ride a roller coaster.

My little guy somehow figured out how to tickle the monsters (this is not an obvious option in the app).  One day, Enlai came running from his room to my shower, excitedly shouting, “Ma, you won’t believe this!  Come and see this!”  I asked if there was a fire, rodents or bugs involved, to which he shouted in reply, “No, it’s the Elmo monster.  He’s ticklish!  And the other one plays a trumpet!”  He discovered that if you do absolutely nothing (i.e. ignore Elmo’s prompts to press a button) and just watch the monster for a few seconds, one of them plays a trumpet, one chomps on an apple, and others yawn, doze off or say something funny, among other things.  The sounds of some of their voices crack me up.

One thing I love about this app is the fact that it’s seasonal.  The options and backgrounds change according to season and highlight different objects we often see during particular times of the year, such as bunny ears and Easter eggs in the spring, seashells and ice cream in the summer, Christmas baubles and reindeer antlers in the winter, and acorns and leaves in the fall.

The Monster at the End of This Book
Compatible with iPhone and iPad
Age recommendation:  4+(my opinion is that if shown how to use it a few times, a toddler aged 3+ could use it alone, but if playing with a parent/carer, I think it could be enjoyed at 2+)
Cost:  $3.99 in the US, £2.49 in the UK

With narration by lovable, furry Grover, touch-point animation and silliness wrapped up in more silliness, this quickly became an adored app.  Our fuzzy blue friend spends the story worrying about the monster at the end of the book, aiming to convince us not to turn the page.  The clever software developers of this app must have children, because if you tell a toddler to not turn a page, what do they do?  Exactly.

The fact that Grover helps little ones learn to read by speaking the words of the story as they appear on the screen was lost on us.  And although the fact that this app reached No. 1 in books in the app store, was the recipient of the Editor’s Choice Award in the Children’s Technology Review and was named one of Babble’s Best Apps for Kids of 2011 is wonderful, but once again, all these accolades were completely lost on us. Enlai and I both just appreciate the story, silliness and interactivity.

Because Grover is genuinely frightened at the possibility of confronting the monster at the end of the book – even becoming a comical drama king with shrills and arms thrown in the air – he ties down pages with knotted ropes, nails wooden slabs, and builds brick walls, all in an effort to keep us from turning the pages.  Little ones are able to decide the pace of the story as their touch determines whether the story stays static on one page for several minutes or whether they turn the page as soon as the prompt to do so pops up. Telling you what happens with the monster at the end of the book would be like disclosing what happens at the end of The Godfather trilogy.  I can’t bring myself to do it.  Rest assured that there is a likelihood of  laughter, not tears.

Toy Story
Compatible with iPad
Age recommendation:  4+(my opinion is that if shown how to use it a few times, a toddler aged 3+ could use it alone, but if playing with a parent/carer, I think it could be enjoyed at 2+)
Cost:  Free

If you and your little one have watched the three-part Disney dynamo that is known as the Toy Story franchise, then it is likely you will enjoy this app, if for nothing else than it affords an opportunity to interact with familiar and cherished characters.

While we are yet to take full advantage of all the app has to offer, including an interactive book , games, colouring pages, two sing-along videos and two games, Enlai colours the three colouring pages nearly every time he has the iPad in his hands.  He has even developed his own stories around these pages that have nothing to do with the actual Toy Story plot.

With this app, your little ones can hear the story read aloud, and can even record their own narration to listen to (or for younger children, their parent’s narration).   On each page, we can tap the screen to play various sound effects and character voices.  While I like the games – Parachute Drop and Toy Barn Maze – Enlai is not very interested at this stage.  The two sing-along videos – You’ve Got A Friend In Me and Strange Things – come with lyrics, and we’ve probably watched the former video about 20 times over the last ten months.  I think the main appeal of this app is the price and the choice.  It’s not a one-trick piece of software; there’s a lot on offer.

Now then, it can’t all be fun and games, can it.  Watch this space for my and Enlai’s review of our top handful of educational apps for precious offspring.  In the meantime, happy apping.

“Let’s go back to the other art project, let’s go back to the snow,” my little guy said over and over.  While some parents dread hearing “Are we there yet, are we there yet?” I was starting to develop pleadstoreturntothisparticularartpiecephobia.  The “art project” he was referring to was Oliver Guy-Watkins’ installation entitled “Technicolour Process”, created with wood, resin, wax, reclaimed furniture, salt, Dacron, shredded poly, rockwall, spray frost and LED lights.  I could understand his desire to continually go back to view this work; he was afforded his own mini winter wonderland.  I too was intrigued by what I saw to be a slice of our modern age viewed through an apocalyptic filter.

For sale at the bargain price of £22,500, this piece was one of over 400 pieces on display from nearly 80 students at the Central Saint Martins MA Fine Art degree show.  It was especially important for me to view this exhibition as it is the last show to take place at the historical Charing Cross site.  So long Soho, hello King’s Cross and Archway, the two locations to which the programme is moving.

When my son was not even a week old, I took him to see a previous degree show there.  Well, I didn’t really take him to “see” the show as his eyes were barely open.  And I may or may not have had my own yearning to see the exhibition.  I think I secretly hoped that all the energy and creativity in the works would  somehow affect my breast milk production, and by some osmosis-like process find their way to my son’s psyche and bones when I gave him the boob.  High hopes, you say?  Okay, I’ll give you that.  Delusional, freakish mom?  Fine.  You can have that, too.

The institution that is Central Saint Martins holds a distinctive place in my ticker.  More important than it being the establishment from which I received my degree, it represents a wish I had that I was determined to fulfill, and it represents the mother of all psychological experiments.

In my final year as a US college student, I decided to study in London.  While studying abroad – at a school that was a two-minute walk to the British Museum – one of my professors was keen to introduce us to different art schools throughout London, giving us their respective histories, telling us of different alumni, and explaining the schools’ diverse curriculum.  Of all these art schools, Central Saint Martins is the one that stood out for me.  There was an odour of  imagination and authenticity, and a stench of sweat, acrylics, and varnishes that took hold of me and never loosened its grip.  I told myself I would be back in London to attend Central Saint Martins one day.

Fast forward a decade later, and my husband and I were now living in London.  There we were on a lazy Sunday, and out of nowhere, he declared that he was going to apply to get his Master of Laws.  I told him that if it would make him happy to obtain yet another degree – he already had three – and if he thought it would improve his chances of being accepted into the Overachiever Hall of Fame, he should go for it.  And then it happened.  The thought.  The thought of me realising my own dream of going to Central Saint Martins.  I asked my husband what he thought, and he said, “Apply today!”  He suggested I apply to more than one school, to which I responded, “There’s really only one.”  So I sat down, filled out the forms and wrote my statement.  That statement is an assemblage of the most honest words I’ve ever written.  I started to write it, with words, sentiments, and examples pouring out, and I finished it in about ten minutes.  And I felt strongly about not wanting to edit it.

When the letter arrived saying I was accepted into the programme, there may have been some yippeekayaying, some yahooing, some jumping on the bed.  There is a possibility that I may have headed to Cass Art, Cowling & Wilcox and London Graphic Centre that same day to peruse some goodies.  A slight possibility.

I met some exceptionally intelligent and ingenious artists on the course.  I even asked one of my fellow artists to be my son’s godfather.  That said, the experience wasn’t an all together affable one.  In fact – probably because of my emotional makeup – I felt like the course was a psychological experiment of gargantuan proportions.  Freud and his buddies would’ve had a field day, with the egos, screams, crying, grunting, perversity, and other unmentionables I witnessed.  But with art and artists, as with almost any endeavour or occupation, there will be neuroses.

As my little fella and I walked from floor to floor to view this year’s degree show, memories of being there in my pre-mom days surrounded me.  I was  reminded of critiques from tutors and fellow students, of visits to certain exhibitions together, of discussions about Frieze and Art Basel, and of smoking Zhong Nan Hai reds for the first time on the stairwell (not me, of course, but my fellow students).  Nicotine is bad, I tell ya, bad, bad, bad.

There were several pieces that both Enlai and I were captivated by, among them Pallas Citroen’s “The ecstasy of Saint Theresa” and Tan Peiling’s “Room with a postcard on floor”.  The latter explores how visual media informs human perception and understanding of reality.  While I was fascinated by how Peiling challenges us to reassess how a visual-biased culture shapes our attention and experience, my little prince wondered what the heck was going on in the space until he saw a portion of the postcard and said, “Ma, it’s a mystery.  Let’s ask Scooby and Shaggy to help us solve it.”

Rock on in your new digs, Central Saint Martins, and if you happen to come across an application years from now from one Enlai Rooney, I can attest – with a tiny bias – that he’s an extraordinary artist, and you’d be crazy to not admit him into the MA Fine Art programme.

Art streams through my arteries and veins and swims through my synapses.  The smell of paint and darkroom chemicals have claimed their permanent spot in my ol’ olfactories, and the sound of nails being hammered through canvas into a wood stretcher are locked into my auditory system.  From a young age, art has been a fixture in my life. 

My art inoculation, administered by my dad (aka Dr. Ihavenochoicebuttocreateandcreateandcreate), was the most gracious gift.  And it is a gift I have chosen to give to children.  When I was offered the opportunity to teach art to young’uns, I was over the moon and Jupiter and Saturn and (insert planet of choice here).    

I genuinely believe that all children have an innate ability to be creative and that this ability should be nurtured.  In teaching art classes, I have generally taken an anything goes approach, with the classes designed to allow the munchkins to have fun while exploring drawing, painting, sculpting, collage and other media and activities.  My hope has been that the children enjoy learning – sometimes subconsciously – about artists and the elements and principles of art while experimenting with art materials.  Simultaneously, I wish for parents to appreciate that art education can play a major role in social and academic development, teaching little ones about problem solving, improving their cognitive and fine motor skills and sensory awareness, and giving them a means of self-expression and confidence in their own creativity. 

Over the last two terms, I have aimed to teach the mini artists about the seven elements and nine principles of art by introducing them to abstract art, pointillism, still life, text in art, sculpture, portraits and other art styles and movements.  We’ve painted with spaghetti, marshmallows and toothbrushes; we’ve painted on mangoes, bananas and apples; we’ve painted with our eyes closed; we’ve sculpted with corn flour and glue; we’ve weaved hearts with paper and ribbon; and we’ve ripped, stuck, pounded, blown, fanned, tied and pinched. 

It was important to me to expose children to a variety of artists, including Jean-Michel Basquiat, Louise Bourgeois, Chuck Close, Mona Hatoum, Anish Kapoor, Frida Kahlo, Cy Twombly and Lucien Freud, among several others.  I felt torn when the latter two artists – both of whom were incredibly important to art for their commitment, approach, and prolificacy – passed away last month.  There is consolation in knowing, though, that art survives the artist. 

During one of the earlier classes, which fell near Valentine’s Day, I was keen to teach the children about line, form, colour, space, and rhythm by exposing them to works which incorporated hearts.  After asking them to view a variety of pieces by Banksy, Brassai, Jim Dine, Damien Hirst, Keith Haring, Salvador Dali and Jeff Koons, I showed them how to weave different coloured and textured ribbons and paper through their own 200gsm paper hearts. 

Banksy, Untitled, Undated

One of the little ones was drawn to the Banksy work and didn’t want to let go of the laminated reproduction for the duration of the class.  As he held tightly to the piece, I couldn’t help but think about Banksy sponsoring free entry every Monday to the Art in the Streets exhibition at the Museum of Contemporary Art in Los Angeles.  He provided a chance for visitors who may not have otherwise been able to afford to view the graffiti and street art exhibition – a show which has attracted a record 201,532 people – a chance to observe the works.  For this, I Heart Banksy.  And I Heart my budding artistes. 

Jim Dine, Johnny Boy, 2009

Jeff Koons, Hanging Heart, 1994-2006

Brassai, heart graffiti, 1933

Damien Hirst, All You Need is Love, Love, Love, 2008

Salvador Dali, Study for the jewel The Royal Heart, 1953

Keith Haring, Untitled, 1984

Very quietly, tiptoe over to mocha beanie mummy to see the rest of the entries.

Very quietly, tiptoe over to mocha beanie mummy to see the rest of the entries.

In the lead up to Mother’s Day in the UK, the Mum’s the Word series on Oomphalos continues, and today two mothers – one of a toddler boy and one of a toddler girl – tell what it means to them to be a mother:

Alessandra

A Saturday morning my little boy wakes up very early as usual, he comes and seeks mommy and daddy and starts waking us up with his sounds that say he is willing to start the day, to play and to have all his demands covered by these two tired adults who only wish to sleep a little longer, but Julian rules the house, and he does his tricks and gets what he wants.  This special morning he woke up feeling really ‘arty’ and got his hands full of the white cream we use to avoid diaper rash.  First we didn’t notice, but after a few minutes of complete silence – always suspicious when it comes to him – I woke up and found him covering the mirror full of prints of his little hands, ‘fingerpainting’ that’s it! My first reaction was going to be a negative one: telling him he shouldn’t touch the cream to do this and ask him to clean the mirror with my help immediately, but after a few seconds of watching his pleasure at what he had done, I recognized the satisfaction he was obtaining from the activity he had started without help and without anyone one saying or suggesting he should do it.  Luckily I was able to recognize he had done something special, and I had my camera and my tripod right there.  And even though I had just woken up, I was able to set up all my equipment to obtain this image which I consider a real piece of art and love it to bits….

Tina

Being a mother has changed my life so drastically I could never have imagined.  It has given my life a different dimension and a different perspective.  Being a mum fills me with endless joy, getting a smile, a kiss brightens my life and cheers me up.  I feel more fulfilled as a person and I often wonder how boring and depthless my life would have been without her.  I have explored different sides of myself, I have found creativity and resourcefulness that I never knew existed, I have been challenged and surprised myself.  I do, however, at times feel frustrated that I cannot do everything I want and that my freedom is limited.  But I wouldn’t change it for anything.  Life without her would be pointless and would have no meaning.  I am so very lucky to be a mum and have such a special person in my life. 

What does it mean to you to be a mother or to have a mother?

There’s the usual bit of bibliophilia going on in our home.  My little softcover savant and we bookworm begetters have been doing eye and mind gymnastics with our latest nightstand reads.

My husband’s reading a Ford Madox Ford book and Grimm’s Fairy Tales, among a handful of other tomes.  I’m reading a book similar to those I imagine a lot of my fellow parents are reading, a guide to understanding the monsters identified as toddlers.  And when I’ve read a few pages of that and am feeling like I understand a tad better the human being known as my three-year-old son, I move on to either John Carey’s What Good Are The Arts?, Andrew Oldham’s collection of poems Ghosts of a Low Moon or a book a friend recently gave me, Conversations with God.  My most recent conversation with God consisted of my asking him how I can end my husband’s latest fascination with the Brothers Grimm because it really has me spooked, and I don’t know how much longer I can sleep with one eye open.  I’m still waiting for God’s response.

My little guy’s folio fare of late seems to be more of the creative and emotional variety.  These handful of books have quickly become my favourites, and every night I ask him if we can please, please, please read one of these.  Sometimes he indulges me, but last night he said, “Let’s give it a break, ma, it’s pirate book time.”

The first of the five I recommend reading with your munchkins is Zen Ghosts by Jon Muth.  Muth created Stillwater the panda, who features in Zen Shorts, Zen Ties and now Zen Ghosts.  The book is a tale adapted from a writing included in a collection of 48 koans by a Chinese Buddhist monk in the 13^th century.  These koans are defined by Muth as questions that one has to answer for himself/herself and which appeal directly to the intuitive part of human consciousness as opposed to the intellect. 

I think the best children’s books are those that strike a chord with both children and adults, and Zen Ghosts certainly fulfills that criteria.  Kids may not understand what Muth is trying to convey, but they will appreciate the characters and the beautiful illustrations throughout the book.   Parents might be pleased that not only is this an intriguing ghost story, but also that their bambinos will learn more about duality – the people they are with their parents, the people they are with their friends, the people they are with their teachers.

While we’re on Buddhist books, another current favourite is Buddha at Bedtime.  Seem as though I’m some sort of ringing endorsement for Buddhism?  I’m not Buddhist, and this is purely coincidental (although in Buddhism, there is no such thing as a pure coincidence, so you can cue in the Twilight Zone theme now).  A friend gave the book to Enlai as a gift, and it really is the gift that keeps on giving – our own little written, illustrated and bound philanthropist.  The subtitle of the book – Tales of Love and Wisdom for You to Read With Your Child to Enchant, Enlighten and Inspire – says everything.  Author Dharmachari Nagaraja retells some of the narratives believed to have been told by the Buddha himself – the Jataka Tales – in 20 stories. 

The colourful illustrations depict a particular scene in the tales, and little ones are sure to recognise the images of animals and nature.  While Nagaraja says the stories are aimed at children six to ten years old, my three-year-old enjoys them, particularly The Prince and Sticky Hair, a tale about words being more powerful than weapons, and The Small Bowl of Rice, which teaches that generosity is its own reward.

And travelling from Buddhism to art, another favourite book is Beautiful Oops!.  Author Barney Saltzberg is my hero, teaching children and adults alike that when you think you’ve made a mistake, think of it as an adventure in creativity and an opportunity to make something beautiful.  The very colourful, 28-page board book – complete with flaps, different textures, and an accordion-like pop-up – naysays blunders and instead teaches that spills, smears, smudges and crumbled-up paper can “make magic appear”.

If I had a choice to buy one book for little ones, this would be the one, regardless of whether or not they have an interest in artistic endeavours.  At any age, it’s worth being reminded that a tear in a page can literally be turned into a smile.

Another current favourite book, which happens to be in the same vein as Beautiful Oops! is The Scribble Book issued by Tate Publishing.  Surprise, surprise, the book is about scribbling and allows for freehand drawing by prompting little ones to turn scribbles into blooming flowers, a dinosaur’s breath, snail shells, smoke from chimneys and hair on already-provided faces.  We’ve had so much fun with this book, giving shy scribbles friends with crayon squiggles of our own, colouring in the loops created by scribbles, drawing scribble spaghetti, and sketching trails in the snow left by skiers.

Within the 64-page book, little ones are encouraged to scribble dust (“otherwise the vacuum cleaner will get bored”), scrawl over the Mona Lisa, scribble on monsters as hard as they can, and decide whether their doodles should make calm or choppy seas.  And for parents who may want to borrow their budding artist’s book, it’s worth noting that art therapists have utilised the “scribble technique” as a method to lessen inhibitions and release spontaneous imagery from one’s unconscious.

The final recommendation from our three-member We Feel The Need, The Need to Read Book Club is Oliver Jeffers’ most recent piece of brilliance, The Heart and the Bottle.  With thought-provoking themes of loss, longing and loneliness, the book is admittedly geared more toward adults than children, but the way Jeffers addresses mortality through both his words and his illustrations is honest and poetic regardless of the age of the reader.

In books, I appreciate when the author leaves space for interpretation.  Jeffers does this.  He hasn’t spoon-fed me or my little guy with this book; instead, he has given us a starting point for discussing death and the emptiness that often follows.  I realise I may be different from other parents in that I have not chosen to shield my little prince from unhappy thoughts of loss, but in the same token, I know a three-year-old is, well, a three-year-old.  He won’t understand it all, but I hope he will find some poetry in the story, poetry in how an empty chair doesn’t have to stay an empty chair.  For any poetry buffs, this book brought to mind what I believe is one of the greatest poems ever written, Wordsworth’s ode “Intimations of Immortality from Recollections of Early Childhood”, and I think that for a 32-page book to do that says a lot. 

Now then, sashay to your local library or bookshop for your dose of bibliofeelia!  Or, if it’s too chilly outside, check out the Oomphalos Bookworms Bookshop.

© Martin Creed, Courtesy the artist and Hauser & Wirth. Photo: Hugo Glendinning

Martin Creed is my kind of guy.  He’s the intriguing artist whose current exhibition “Mothers” is on at Hauser & Wirth on Savile Row.  I, along with my mom and son, had the fortunate opportunity to behold, chew over and digest the works.  I’m still digesting.

As both a mother and an artist, two works stood out for me, Work No. 1092 (or the work commonly referred to as Mothers) and Work No. 1177.

When asked about his thinking behind Mothers, a 12 ½ meters long, 2 ½ meters high steel beam supporting white neon lights which spell out Mothers in capital letters, Creed said in an interview that he thought mothers are probably the most important people.  I momentarily thought of Norman Bates, but after reading Creed’s explanation in a separate interview, I know he’s speaking on a more macro level.  Creed said, “This work made me sick, there were so many times when I felt sick working on it.  I think it has something to do with Mothers… I think families are really difficult.”  Families difficult?  I don’t know anyone who’s ever had difficulties with their family (cue the uproarious laughter).  Creed added, “I think the most powerful and difficult relationship in the whole world is between a mother and child.  That is the one where the baby is literally part of the mother and is not separate, and then you have to come out and be separate.  It is the most difficult thing to do.  I think to actually be a mother is very difficult and to have a mother is difficult.”

And when asked why he wanted the motorised sculpture to spin – orbiting at varying speeds and bringing to mind the different settings of a ceiling fan – Creed replied, “Mothers spinning out of control rang true to me.”  He must know about the Whirling Dervishes Playgroup or the Our Descendants Sometimes Make Us Dizzy Support Group.

Standing in the room, seemingly purpose-built for this enormous sculpture, I considered Creed’s explanation that the size reflects the importance of mothers and how they literally contain us at birth.  He pronounced, “In general we think of something as ‘big’ if it’s bigger than us, so because as babies we are inside the mother, by definition the mother has to be big.”  I also found it curious that while welcomed to, none of the 50 or so fellow observers ventured under the sculpture.  At one point, I felt said observers – whose hair and attire looked a bit windswept while the sculpture moved at its full speed – staring at me and my little guy in his buggy, as if to say, “You’re obviously a mother and as such, this sculpture includes a gyratory halo for you, so go for it, go stand under it.”  Risk my life under this monster?  No thanks, not today (my initial apprehension paralleled that of when I went to see a Damien Hirst piece)  I am aware that, sadly, fine art malfunctions have caused very tragic situations, and the irony of mothers taking this mother’s life was too much to bear.

© Martin Creed, Courtesy the artist and Hauser & Wirth.

Using his art to comment on the magnitude of the matriarch in our lives, Creed also graces us with Work No. 1177’s presence.  This black and white, silent 35mm film – which especially when combined with Mothers – alludes to a domineering mama in our friend Freud’s oedipal phase.  The film centers on a woman’s breast, whose nipple goes from its usual state to an erect state after a hand tweaks it.  In his past work, Creed has shown a fascination with how our bodies function and react, often with overt sexual undertones, but this film was different than others in the series.  I thought it was beautiful.  I thought it was persuasive.  And despite having breasts of my own and having breastfed my son, this was the first time I’ve witnessed this sequence in such a manner.  It helps that I’m also a fan of silent films; they leave more space for one’s own interpretation.  My three-year-old watched the film and asked why it wasn’t moving.  He stood watching it for 15 seconds, I’m sure wondering why there wasn’t a caped crusader or scallywag entering the scene.  I asked him if he knew what the image in the film was, and he responded, “Let’s go.”

There are dozens of additional pieces in this exhibition, but these are the only two that spoke to me.  There was a wit, a cheeky little boy at play, and a minimalism – as there was with Creed’s Blu-Tack, lights switching on and off, and balloons pieces – that has enamoured me to the artist.

Is Creed’s own mom as enamoured as his myriad admirers?  He said he thinks his relationship with his mom is quite good.  She’s always been very supportive of his art practice and often comes to his shows.  Aww, bless.  Just in case this isn’t actually the case, I’m sending her an invite to a spinning class I know of whose instructor focuses on using physical exertion to cope with snags in mother-son relationships.

For you Londoners who are looking for activities in Marylebone, your wishes have been granted.  The inimitable Ben, of Oomphalos and Regent’s Park football classes fame, has launched Small Beginnings.  

The Small Beginnings website is under construction, but in the meantime, you can contact the Small Beginnings hotline on 07799 760 510 or email smallbeginningsuk@gmail.com to receive the timetable and sign up for classes now!

My dad and son in front of:
Doug Wheeler
RM 669, 1969
The Museum of Contemporary Art, Los Angeles

When I was seven, my dad was my light.  My parents divorced, and he and I ended up living in a small apartment.  Our meals alternated between the scrumptious fare on offer at Wienerschnitzel and Winchell’s and while eating chili dogs and chocolate donuts with rainbow sprinkles, we’d listen to Tom Petty, Bob Dylan and Minnie Riperton.    

My dad had a way of knowing how to lift my spirits then, just as he does today, and this often involves an element of art.  While we lived in the aforementioned apartment, my dad enrolled in an art class at a community college.  He came home on one occasion with a sketchbook, and I couldn’t wait to peer inside.  For what seemed like hours, I looked at anatomical drawings comparable to da Vinci’s.  And when he asked me to be his hand, foot, or ear model, I was honoured.  On a separate occasion, he brought home a stack of magazines and asked me to tear out pages of faces I liked.  I handed him my selection and was a privileged eyewitness to my dad’s uncanny awareness of the special relationship between charcoal and white paper.    

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