8th Day News
Yes, it’s that time again! We’re now taking bookings for our Christmas Meal on Saturday 13th December. If you’d like to celebrate with us at Eighth Day, our chefs have devised a delicious menu with vegetarian, vegan and gluten free options. We’d love you to join us. For more details, please download a menu.
Café Worker Required
A position is available for a hardworking and experienced individual who wants to be part of our café team. The role will involve a mixture of front of house service and kitchen duties such as pot washing and cleaning.
The job comprises of 28 hour week at an hourly wage of £7.65 (living wage). The successful applicant must be able to work flexibly between Mondays and Saturdays, have previous front of house experience, and an interest and enthusiasm for healthy living and the principles of cooperation.
The closing date for this position is Saturday 25th October 2014.
Enquire in-store for an application form.
If you have not been notified within one week of the closing date, your application has been unsuccessful.
Night of the City. An exhibition by Ana K Miller. October 2014
Max Ernst and the Manchester Supermoon
When Max Ernst started using grottage and frottage to paint eerie abstract paintings with huge moons he created one of my favourite series of paintings. I love the atmosphere, the colours, the flattened out textural shapes woven together to evoke nightmarish industrial landcapes and dying forests. These paintings have put a spell on me.
[Which brings me to this, which I want to be the soundtrack to this blog, if the link doesn't work, find some other way of listening to "I Put a Spell on You", Screaming Jay Hawkins, this post only works to a certain soundtrack]
Walking around Manchester City Art Gallery one day a few years back I was amazed and excited to find that they have one of my favourite paintings of Ernst’s in the strange medley of artworks that made up their permanent display. It’s called The Petrified City and it looks something like this:
If you were in Manchester a few weeks ago you may have noticed something special about moon. It demanded your attention, it looked bigger, brighter and more magical than usual. I heard later on that it was a supermoon. I was especially enamoured with this moon because I’d been spending a lot of time making abstract paintings of cities with big moons. The moons were aligning, a good sign.
A few months earlier I had been grappling around desperately wondering how to start these paintings, procrastinating and reading lots of ”how to” books for inspiration that weren’t very inspiring.
The spark came when I found Mike Bernard’s book about painting with collage that advocated an experimental rather than a realist approach (which always gets a tick from me) and contained some beautiful paintings – the style, the rationale and the use of colour struck a chord and I started experimenting with Bernard’s suggestions, trying very unsuccessfully to follow his instructions.
The book is brilliant and gives lots of good advice about making paintings with collage…
… and some of Mike Bernard’s paintings are gorgeous:
So I got to work trying collage out, at first it didn’t work, but it lead to some ideas, I started making cartoon skyscrapers on newsprint with felt-tip pens – this lead to a cartoonish abstract painting of Manchester: the most realist of the series.
And then I got a breakthrough. On top of an old painting I kept adding things and it kept not working but each error lead to a new direction and suddenly a painting started to emerge that I was excited about:
I like the atmosphere you can build to create the mood and impression of a city, without necessarily representing a particular place. These paintings are about my feelings towards Manchester and other big cities in general but they are also about the media I use – the layers of paint and paper that I build begin haphazardly – the process behind the paintings is experimental – what does the paper and paint do by itself? How can materials applied, printed or poured create beautiful random patterns and textures that could not have been achieved deliberately?
So this is some of the history behind the paintings I’m going to be exhibiting next month. Here are the details (and more formal write-up) of the exhibition itself, in the form of an image of a postcard
[If you get down to the exhibition you can have a postcard]
I called the exhibition NIGHT OF THE CITY and I’ve chosen this painting as the centre piece because I think it embodies what I wanted to do: