Home

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

With his faithful teddy bear, deckchair and fantastic basket of tricks, Christian Lee is all set for a lovely day at the seaside…until the day takes a turn and things don’t quite work out as planned. Join our hapless hero and be astounded in this totally word-free clown and magic show that follows his exciting adventures at sea. Mr Bean meets Charlie Chaplin in this mind-blowing feast of illusion, comedy and a MASSIVE balloon! The most fun-filled show for children and families around!

Pop! A Magical Comedy Show
With his faithful teddy bear, deckchair and fantastic basket of tricks, Christian Lee is all set for a lovely day at the seaside…until the day takes a turn and things don’t quite work out as planned. Join our hapless hero and be astounded in this totally word-free clown and magic show that follows his exciting adventures at sea. Mr Bean meets Charlie Chaplin in this mind-blowing feast of illusion, comedy and a MASSIVE balloon! The most fun-filled show for children and families around! Ages suitable for children aged 2-8 years.

Ticket Prices:

Adults/Children ( Standard) – £8.50

Adults/Children ( Concession) – £6.50

Family Ticket ( 2 Adults/ 2 Children) – £28.50

Family Ticket (Concession) 2 Adults/2 Children – £20.00

Under 18 months free.

To Book Tickets:

Box office: 02083488716

Email: enquiries@lauderdale.org.uk

Website: http://www.lauderdalehouse.co.uk

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

ancestry

Artists explore the theme of Ancestry each producing images that reflect their own unique backgrounds, histories and perspectives.

Janet Campbell:

Janet will be presenting several paintings exploring her maternal ancestry line through five generations – the mitochondrial line. There will be individual portraits and group scenes inspired by Velasquez’s Las Meninas utilising mixed media (oil, acrylic, pastel, charcoal and collage) on canvas.

Carry Gorney:

Carry is using torn lace and old photographs, fragments salvaged from the vanishing world of her refugee ancestors. She has scorched and singed ghostly faces and created a series of ephemeral images by stitching heat-distressed fabrics to the lace of another time. Materials; lace, photographs, torn papers, inks, Tyvek, synthetics, acrylics, gelli-printing.

Sarah Phillips:

Sarah will be illustrating the threads of creativity that permeated her childhood and inspired a lifelong involvement with art, craft and design. Her maternal great grandfather was a Victorian lace designer in the East End and her great grandmother was a pattern cutter. One of her earliest memories is of her Sunday lace on a rag doll mob cap that her aunt made for her.  She will visually embody a nostalgic representation of the desire to collect, horde and recycle that she has inherited from her paternal grandmother who carefully and lovingly preserved buttons, lace, trimmings and unravelled wool.

Chris Demetriou:

Chris will be investigating the areas and specific places of London that have shaped his life, and that of his ancestors and children, utilising a series of photographs.

Veronica Slater:

Veronica Slater manipulates images, taken from old family album photographs. Producing a series of paintings, that probes our process of recognition. These create an unsettling iconography which perhaps reflects the emotional mine field that is family and is ultimately our ancestral legacy.

Litza Jansz:

Litza Jansz uses photo montage to reimagine the ages and relationships of family members over four generations. By playing with time in representing different generations interacting at the same age her work subverts the power relationships within families and the rigid boundaries of the nuclear families within them.

Open times:

Monday/Tuesday/Wednesday: 11am – 4pm

Thursday: 11.30 – 4pm (please call to confirm the gallery is open)

Friday: 11.00am – 4pm (please call to confirm the gallery is open)

Saturdays: Closed

Sunday 17th December: 11am – 4pm (please call to confirm the gallery is open other dates)

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Free and open to all but do phone to book your place. In these lively debates, prominent and informed speakers argue their points of view on issues of current importance. They are ‘seconded’ by pupils from local schools, and audience members also have the opportunity to sway the opinion of those attending.

The motion: This House Believes that Social Media Undermines Democracy

Proposing: Carl Miller, Research Director of the Centre for the Analysis of Social Media at the think tank Demos 

Opposing: Paolo Gerbaudo, political and cultural sociologist, lecturer in Digital Culture and Society at King’s College London

To reserve your free place please contact the office.

“This house believes that the use of social media undermines democracy”

Proposer: Carl Miller.  Reserach Director of the Centre for the Analysis of Social Media at Demos.

Opposing:  Paolo Gerbaudo.  Sociologist and lecturer in Digital Culture and Society at King’s College, London

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre     The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.
(digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”

Rolling Stones, Paint It Black. 

Memory Theatre   The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance.  It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.     (digital brilliance.com)  Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery.  The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity.  In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint.  In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created.  In his last Highgate Gallery show, large images of heads dominated.  Some of these heads exist beneath the new works, so that creation and destruction co-exist.  The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’.  Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’.  In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric.  His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes.  Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context.  This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 15 February.

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre     The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.
(digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”

Rolling Stones, Paint It Black. 

Memory Theatre   The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance.  It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.     (digital brilliance.com)  Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery.  The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity.  In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint.  In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created.  In his last Highgate Gallery show, large images of heads dominated.  Some of these heads exist beneath the new works, so that creation and destruction co-exist.  The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’.  Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’.  In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric.  His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes.  Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context.  This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 15 February.

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Meet Drew Colby – a man whose shadow can do almost anything – make enchanting shadow animals and fabulous shadow lands and even funny shadow people, all with just two hands. Be amazed as shadow crabs creep from the sea, a shadow monkey does a hula-hoop dance and a tiny shadow man goes riding on a great, big shadow elephant.

My Shadow and Me
Meet Drew Colby – a man whose shadow can do almost anything – make enchanting shadow animals and fabulous shadow lands and even funny shadow people, all with just two hands. Be amazed as shadow crabs creep from the sea, a shadow monkey does a hula-hoop dance and a tiny shadow man goes riding on a great, big shadow elephant. Ages suitable for children aged 2-8 years.

Ticket Prices:

Adults/Children ( Standard) – £8.50

Adults/Children ( Concession) – £6.50

Family Ticket ( 2 Adults/ 2 Children) – £28.50

Family Ticket (Concession) 2 Adults/2 Children – £20.00

Under 18 months free.

To Book Tickets:

Box office: 02083488716

Email: enquiries@lauderdale.org.uk

Website: http://www.lauderdalehouse.co.uk

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.