13 Rooms: An insiders perspective with Paea Leach

Jo enamoured with the impossibility and tranquility of
Xu Zhen's In Just a Blink of an Eye

Lilly and I were lucky to immerse ourselves in 13 Rooms -  Kaldor Public Arts Projects together this weekend. After our BIG kid Twyla's experience I was excited to fly in on Friday to witness several of my friends working as performers or 'interpreters' in the exhibition. Paea Leach is a long time dance collaborator and friend and she soon ushered us in through the stage door to join the crowds of all ages. (We were also thrilled to meet John Kaldor who was a generous presence across all the hours we were there on each day).

One of the most talked about rooms features Marina Abramovic 'Luminosity' where the work features a single woman lit up naked on the wall. It is a work of trancendence and endurance and quite simple beauty that also bought to the fore the question of artwork that might be inappropriate for children within a space that so clearly invited them in (we were delighted to see cups of coloured pencils on all the tables in the cafe, and children actively responding to their surrounds, participating in the experience in age appropriate ways).The rooms featuring nudity were clearly signed and a guide gave a gentle reminder before you entered. Despite this, during the times we were in the room, a number of children walked in and not one of them disrupted the viewing of the works in a negative way. All watched openly and easily. Our favourite moment was when a young girl of about 3 responded immediately by lifting her t-shirt  - it was a split second response no-one could've predicted, and the performer, Paea Leach handled it with the beautiful acknowledgement of a conspiratorial slight smile. We asked Paea for her responses to this work and of her experience of kids in the mix: 

In Luminosity you are interpreting a work by Marina Abramovic in which you sit on a bicycle seat affixed to the wall of a small room, naked and still. As a dancer who is moving constantly, how does being still for half an hour at a time compare?

To stay so still or calm, seated as I am on the bike seat 'suspended' on the wall, I need to be maintaining a constant awareness of micro shifts, or small dances if you will. In some sense you ARE moving all the time. I can get really focused on monitoring the minutiae of my body and the different body systems at play that are helping me stay there, while I work to maintain a constant and steady gaze and to engage with the audience (an important aspect of the work is that we seek to connect with the audience via directly establishing and holding eye contact for an amount of time we feel is right).

How do you feel about performing naked and were you happy to be viewed by children? 

My feelings about myself being naked in performance shift daily. Some days I feel quite empowered performing naked, as often I think not everyone is able (or willing) to do such a thing. On others I feel very watched, judged, desired, rejected and self judgmental.  In Luminosity I can see the audience quite clearly and sometimes the energy of the people watching can affect how I feel about myself. In my logical brain I think we are all bodies and we all have a body. It is a basic and beautiful idea. In Luminosity the nakedness is important for the image and so the work, it empowers me as a performer and woman and at some point the nudity does not matter. I have spent time watching others and performing it myself (watching others watch me) and I think the crux of the interest in this work is about connection. So after a few minutes all you tend to focus on is the face of the performer. The space can in these moments of connecting becoming empathic, sad, charged. As we are both seeing and seen. 

A lot of children come in and I feel that I try and send them a gentle gaze if they want to look at me. A lot do not want to look. Babies seem intrigued, by the light I am guess, and other children have varied responses. Mostly they are a bit confronted by it, or simply fail to see why it is interesting, and fairly quickly want to leave. A lot have made connections between what they are seeing and their own mothers. As I was doing Luminosity just ten minutes ago I watched a mother and daughter watching together. I thought that it is a privilege to be a child who has a parent that is able to bring them to such things. hopefully these parents are part of a stream of parents who are encouraging the next generation of children to learn in new ways...or to think and feel outside the square so to speak, from the beginning of their lives. 

I do not find the children distracting in the space at all, if anything it is adults who have the most wild responses.  

How would you describe the 'dance' of the work?

The dance of the work is on the inside of my body. It is between myself and the people I make lovely and lengthy connections with. It is what is happening between my body and yours - and the energy transferred. This is absolutely what dance is about for me. It is in the choreography of the bodies I see moving, relocating, sitting, rearranging before me.  People are a mixture of arrested, intrigued, needy, impatient, confronted, alarmed, discomfited, and happy. Many men find it hard to look at me when I am looking at them. Older women seem somewhat delighted and respectful, women my age are a little unsure....but once we establish a connection they seem to enter the contract and feel satisfied and a bit heart warmed. Some people come back. It is intriguing to watch everyone working out how they feel about it. And of course I can see them and I watch body language, and people relax, endure the silence, allow the space to open out.  It is an incredible experience. 

I think the silence of it invites people to land in their own bodies and for a brief moment, consider the weight of themselves. 

An insiders view of the space of 13 rooms before the crowds. Image by Paea Leach

Post Script: A counterpoint to the ease of inviting children into the space was thoughtfully articulated by another of the Luminosity interpreter/performers Nalina Wait- an artist and mother who felt it was not suitable for children "not because of the nudity, but because of the very strong issues and feelings it raises. It is a mature work about suffering, loneliness and the strength to overcome this. It's about having lived and having had harsh life experiences. It takes a certain amount of maturity to process and understand it in an art context and I don't think children have that capacity yet. Usually they are brought in by well-intentioned parents who want to open their children to art, but who haven't really taken in the work yet themselves. Children are very sensitive and open and usually want to leave the room before their parents. It is a very strong work and I don't think there is any benefit to exposing them to that just yet - there's plenty of time to soak up the pain of life later.... Everything else in 13 rooms is wonderful for children!"

Our experience with 4yr old Twyla was easy and delighted. On walking through the exhibition it would've been more provocative to say "you cannot go in this room". Luminosity evoked in her a sense of wonder "This is amazing mummy, is she glued to the wall? This is very cool I think it's magic. How does she balance? Her arms are definitely not glued on".

The decision to view the work with a child is certainly not a fixed conversation, with the experience and appropriateness different for everyone.

Did you take your child to 13 Rooms? Would you take your child into Luminosity? 

BUZZ Dance Theatre

What kind of treasure do you look for in a dancer? 

"Somebody who can tell a story. It is not about how high they can kick their leg!" Cadi McCarthy, Artistic director of BUZZ Dance Theatre.

In the current issue of BIG we interview the artistic director of Buzz Dance Theatre, Cadi McCarthy who is now days away from giving birth to 'twins' - one a real live baby and the other a new dance production called "Fragile". The BIG boys - senior ed and his sidekick - will be at the Perth opening on Saturday night and are looking forward to the puppetry and animation aspect of the dance. Fragile deals with issues of bullying and how game play can help to find a positive way forward and features dancer Peter Fares who shares a bit of his BIG life as a dancer here:

Peter Fares, photo by James Welsby

First ever dance? Breakdance/hip hop routine in the middle of a Wildcats (Basketball) game in front of a huge crowd!

When did you know you wanted to be a dancer? I was in year 10 at Rossmoyne Senior High School and saw all kids having heaps of fun. Charise Parnell used to have session for boys at lunchtime and we ended up performing what we made.  Then I did one year of Business at uni while dancing with Steps Youth Dance Company before moving to study dance at WAAPA.

If you could grow up again and be something different what would it be? A visual artist even though I am really bad at drawing!

How do you manage your Dancing days? I am very good with how I plan my lifestyle as a dancer. I always make time to do my own thing. Lots of dancers keep their mind on dance 24/7 but I back away for a bit and enjoy the holidays!

What do you treasure most in your life? Friends and family and especially my mum.

See Peter perform in Fragile from June 16. We can't wait!

Bravery is being a strong person in your mind.

Imagination is experience.

Generosity is love. 

SUBSCRIBE to BIG Kids Magazine - Featuring kids and artists side by side!

Editing BIG Kids Magazine

As an editor, I must be quite methodical. As a parent, I must be organised and practical. But as a writer and illustrator, I love being swept up in a creative storm where there are no boundaries. (Karen Comer)

The 'First Flight' edition of BIG Kids Magazine in September this year was our first experience of publishing a magazine. Lilly and I have authored published papers, produced limited edition artist-books and directed full length dance and theatre works - we are obsessed with the 'process' aspect of creative practice and used to drafting and re-drafting. However, when it comes down to the wire of copy editing, we could read through our work 50 times and still not see the missing 'i' in Imagination (Oh yes, it happened, MORE than once!) 

Once you are so close to something it harder to see it with any distance or indeed, perspective. And here is where Karen Comer came in. She acts as copy editor, and increasingly as advocate and friend. Based in Melbourne (I know - you'd think we could at least get ONE of our team members in the same city as one of us!), Karen is brilliant at her job and her incredible generosity helped to get us over the BIG line on numerous occasions. We asked her a few questions and here she shares insights - no doubt she will read and want to edit this post, but again she generously gave us range to edit HER words and so we have enjoyed the play ;) Thanks Karen, we LOVE having you on the BIG team!

Can you explain the role of an editor?

An editor’s job involves asking lots of questions to the author.

My job as an editor – regardless of the subject I am editing – is to help the author communicate with their readers. It is that simple! I want to ensure that there is nothing that will distract or confuse the readers. So spelling, punctuation and grammar must be correct. This does mean I am slightly pedantic at times but I couldn’t bear for a reader to put down a fabulous book or magazine because one sentence did not make perfect sense! Whatever the message or idea or theme or information the author wants to share, I want the audience to receive that message or story presented in its very best form.

The relationship between the illustrations or photos or diagrams and the accompanying text is very important. When I edited a nursery rhyme book for Hinkler books a few years ago, I checked an illustration for the rhyme – ‘Hector Protector was dressed all in green.’ The illustrator had used red for poor Hector Protector! I became particular about precise illustrations as a languages publisher for Jacaranda, John Wiley and Sons. If you are learning the French word for donkey and your only clue is a picture, it is imperative that your donkey does not look like a horse!

Can you paint a picture window of what your day was like as a full-time editor and as it is now as a freelance editor and mother?

When I worked full-time for an educational publisher, I loved all the big-picture projects. Starting with a blank piece of paper and a subject, then finishing up two or three years later with a tangible book. I loved the collaboration with authors, copy editors, designers, sales consultants, illustrators, subject consultants, multimedia specialists …

How did having children impact your work life?

Now, with three small kids, my editing life is quite different! I work in carefully planned but snatched hours, often first thing in the morning and last thing at night, and often in my pyjamas! I work while my oldest son is at school, my daughter is at kinder and my youngest son sleeps in the afternoon. I carve out hours on the weekend, when my husband takes the kids to footy practice or in between kid birthday parties, family events and grocery shopping.

I have swapped my office with the window overlooking a pub for a home study with bits of lego and colouring pages on the floor. My projects are not of the big picture variety any more – there is no time for that expansive, spacious kind of thinking so I usually do the detailed copyediting part of the project after most of the decisions have been made.

My work as a freelance editor ebbs and flows. I love having a project – it teaches me new skills, I learn something new, have the chance to work with creative people and it pays the bills. I also love not working – it gives me the chance to spend time on my own writing and illustrating projects!

What drives you to create worlds for kids in the stories you are currently working on?

Being at home with my kids means I have permission to read all day – well, nearly all day! And so I started my blog – Earthly Joyride – to share all the amazing picture books we like to read and the things we make and do in response to what we have read. And then I started to do a few courses on writing and illustrating for children. And now I write and illustrate my own stories and hope that eventually there will be a tangible book with my name  on it, just as I always imagined as a child.

As an editor, I must be quite methodical. As a parent, I must be organised and practical. But as a writer and illustrator, I love being swept up in a creative storm where there are no boundaries. Most of my stories are sparked by tiny ideas – a fragment of a sentence, half a story from a friend, a photo, a scrap of material, something one of my kids said. 

It takes me a long time to write a picture book. Perhaps 18 drafts over 7 months. Perhaps half a story written on holidays, then finished 8 months later, reworked for the next three months. The process goes on and on. Mostly enjoyable, sometimes frustrating.

There are times when my timetabled life infuriates me – school and kinder pick-up times, editing deadlines, Monday’s swimming lesson. But it does provide a sturdy frame for everything to hang on and within that there is the space to create. Not always enough time, but it is a starting point. And once you start to create, there is no choice but to hang on for the ride!

Turquoise tailed peacocks
From a picture book Karen is working on

SIDE BY SIDE: fotoplay

{cat bodies completed by 7 and 8 year olds}

 

Marcie Jan Bronstein is an artist, a teacher, and the very proud mom of an 18 year old jazz musician. She has long been fascinated with children's drawings, and has featured their work in a number of large scale commissions and projects. We love Marcie's 'side by side' inspired work at  inthisplayground.com, particularly her fabulous fotoplay project (soon to be published as a first of its kind book) which uses the photographic image as a prompt, and as an invitation for collaboration. Ohhhh those cats!

"I've found that a photographic prompt (in comparison to a hand drawn "doodle" prompt) elicits a unique response, in that it allows a young (or not so young) artist to move between two realms, in two mediums. The resulting images are magical, mysterious, not ever predictable, and always delightful". 

{elephant conversation completed by an 8 year old}

{complete the elephant's body by a five year old}

Here are Marcie's wordless responses to our questions of Bravery, Imagination and Generosity (we can't wait to see her contribution to our Treasure Maps edition!):

 

Bravery

Imagination

Generosity

An Interview with Kathreen Ricketson and Whipup.net

Following on from our 'Action Pack' feature post,  we are thrilled to introduce Kathreen Ricketson. Kathreen is a dynamic force of generosity and creative living, she has recently celebrated a milestone birthday and here she answers some BIG birthday questions to give us a behind-the-scenes peek into her life and work.  We absolutely love the Whip Up manifesto which expresses so clearly Kathreen's deep valuing and importance of creativity in the hectic lives of both adults and children.

Tell us a little bit about your background and what it was that led you to Whipping up the world?

I am an artist/mother/designer/maker/writer, I went to the Canberra school of art and studied photomedia, then stayed at home for a few years to raise my children, during that time I connected with likeminded makers and creators online. I started Whipup.net which showcases on a daily basis my passion for all things handmade and creative. Whipup.net introduced me to the publishing world and Chronicle books gave me a wonderful opportunity to launch myself as as a writer. Whip Up Mini Quilts was published in 2010 and Little Bits Quilting Bee will be coming out in October this year. I also have been working with Australian publisher Hardie Grant who asked me to curate and edit a series of craft books for kids. At the same time, with the help of my husband and two super children we launched the Action Pack series of E-magazines for children.

How would you describe the distance between the first gem of the  'Action Pack' idea and the day you pressed 'publish' on the first issue? 

Oh very short, when we have an idea we just go for it. And online publishing is so instant and gratifying, you can test out a concept and see if it works without a huge investment in money. My two kids, Orlando (8) and Otilija (11) and my husband and I all work on these as a creative team, taking turns to come up with ideas and to create the projects. My background in magazine publishing and photography have been a huge help here and my husband loves to invent and illustrate in his spare time - so we make an amazing team.

What has been the most energising part of the Whip up and Action Pack journey so far? And the most exhausting?!

The most energising part is the creative bit - thinking up ideas and making the projects together. I also love taking photos and even the layout and design is fun. The most exhausting is probably editing and testing and marketing - only because its not my forte and my brain really hurts during this necessary process.

Do you have a specific daily work structure or does it depend on the will of the wind?

The wind, the children, the mood, the air - yes indeed. I do try to have a work routine - a couple of hours of emails and writing on the blog, then time working behind the business - marketing and advertising and PR and all that sort of thing. Then I might get some time to work on my own ideas and projects ... I tend to work creatively in spurts rather than any daily sort of routine.

The latest issue of Action Pack has recently been released - does the experience of making the mag get easier each time round or is it more like labour where no two births are the same!? 

Each one is different -- although I am starting to get a routine going. The last one was a bumper issue and so while it was three times as big as the regular ones, we did give ourselves a bit more of a break in between. We are gearing up for the next one - preparing and researching and testing our ideas.

Do you have a particular toy/activity or childhood remnant you share with your children? 

My two teddies from my childhood have been passed on to my kids - they have one each - and they treasure them - which is lovely. We moved around a lot when I was a kid so my memories from my childhood are fragments and difficult to pass on - which may be why I am so keen to help my children create meaningful memories and really treasure their childhood.

Would you say you are now "what you want to be when you grow up", and do you have other current dreams you can share with us?

Having recently turned 40 I have had a bit of a time of pondering this question. And I can say that I am satisfied with where I am at - I like my life and love my kids and enjoy what I do. But of course I still have dreams and am on the path towards them. We all feel quite strongly about living a more sustainable life closer to the earth and nature and so we are planning a move to the country - don't know when or where but we are dreaming about it more and more. And we also really want to spend more time discovering this great country of ours - so we plan to take a year out of our lives and go camping around this great big land - take off on a big adventure. As for my work and career - that seems to have a life of its own ...

                                     Bravery is... just getting on and doing stuff - following your dreams.

Imagination is... thinking outside the usual.

Generosity is... giving without expectation.

An interview with tiny and little (and teeny) magazine

Natalie named tiny and little magazine after her first two children - she has since had a teeny addition and we think maybe this THIRD gorgeous issue is dedicated to him. Natalie sent such generous responses to our tricky BIG questions, and we are thrilled to share them with you here to celebrate the launch of The Food Issue. It truly is a scrumptious read. 

Tell us a little bit about your background and what it was that led you to tiny and little?

I held the dream of working in a creative role for as long as I can remember. However instead of trusting the voice within, I allowed myself to be led from one place to another on the advice of others, until I found myself lost in the corporate world. It wasn't until I started maternity leave with my first child that I had a break from working. I took the time to think about my future and my dreams, and the seed was planted.

It was my own experiences as a parent looking for information and inspiration - and not being able to find what I was searching for - that helped the seed to grow. I found myself thinking of communities where ideas and advice are handed down from one person to the next. Of villages where many families band together to bring children up in an extended family style. I wished there was a community I could turn to and it inspired me to think of the magazine as my contribution to that.

How would you describe the distance between the first gem of the 'tiny and little' idea and the day you pressed 'publish' on the first issue? 

I took the time to weigh up options for the magazine between idea and issue. An aspect of it would come to me, which would see me journey off on a tangent, and I would reach a point where I had to make the decision whether to pursue it further. At the time, it felt like I was moving slowly because I wanted to get the magazine out, but now that it has been published I look back and am amazed at how far it came in a relatively short time.

What has been the most energising part of the tiny and little journey so far? And the most exhausting?!

The most energising moment was on January 1, 2011. I had decided that I would start the new year by launching my website to announce the magazine. I had a buzzing joy reverberating through me that day as I publicly took the leap to follow my dreams. That happiness, passion and energy from doing what I love that keeps me going.

The most exhausting part of the journey has been those nights when I'm working until the well after the midnight hour, moreso when my little ones are unsettled or unwell. I have three children under school age and stay at home full time to enjoy them at this lovely pre-school phase, so I work when they sleep or are with family on the weekend. Each issue takes considerable time to put together and some nights that means putting in a number of hours to keep things on track. The challenge of being a mum and a business owner, and wanting to do my best for both, is utterly exhausting some days. 

Do you have a specific daily work structure or does it depend on the will of the wind?

I am with my children all day and work when they sleep. I usually work three weeknights and all day on the weekends, although Saturday and Sunday times will change depending on how much work there is to do that day. If I can take a day, or even an afternoon off, to be with my family I will.

You have been madly in the middle of compiling and readying the 3rd issue of tiny and little; is the experience easier with each subsequent issue, or is it more like labour where no two births are the same?

The experience is easier than the first issue, but at the same time I find it more difficult to finalise it for publishing. The first issue was so wonderfully received that I find myself fearful when it comes to hitting that publish button in case it's not enjoyed as much. I hope that things continue to become easier as I finetune my rhythm with each issue that is published. 

What was your favourite childhood activity?

One of my favourite activities was playing my clarinet and I was always excited to take it out of its case. I lived out of town and spent many an evening playing while sitting on the water tank at dusk, watching the setting sun light up the sky in vivid peach and red above the mountains my home looked onto.

Do you have a particular toy or childhood remnant you can't wait to share with your children? 

I loved The Muppet Show as a young child and recently shared my Kermit and Miss Piggy dolls from when I was five with my little ones. The most adorable moment was watching my four year old ask to wash Miss Piggy's hair because it had knotted from being stored for so long. He was incredibly loving and gentle, and it reminded me of how I cared for her when I was little.

Bravery is... giving your dreams wings to take flight
Imagination is...whatever you want it to be

Generosity is... giving with love, kindness and no expectations

A BIG Interview with Paper Runway

We are so excited to share with you the absolutely enchanting and covetable world of gorgeous finds and divine paper design: Paper Runway. We have been emersed in reading the passion and paper featured in the inspiring  launch edition.  Paper Runway is the brainchild of Nikki Buckland and 'our' own amazing Maree Oaten. Maree has designed the BIG logo to be revealed in the next few days and we are in great admiration of the awesome magazine she has made! You can subscribe to the print magazine here and enjoy the FREE online version here. We were so happy to catch the girls on the eve of their launch and began with their response to the B.I.G question: 

Bravery is? 

Stepping outside the feigned square when everyone is watching and saying it’s okay.

Imagination is? 

Remembering to be 5 again. 

Generosity is? 

Doing something for others without the expectation of anything in return.

How are you feeling the day before the launch of your first issue?

Emotional, so excited, wishing and hoping that it is received with the love and passion that it was created, nervous, relieved, anxious but so proud of what we have created.

Tell us a little bit about your background and what it was that led you to Paper Runway? We first came together when Maree contacted Nikki seeking to stock Little Branch in Nikki’s online store Paper Scissors Rock Stationery. We chatted daily about little ventures that we were both involved in shared ideas and thoughts and supported each other’s momentary meltdowns. We shared virtual cups of coffee, glasses of wine and long nights as Maree was based in Sydney at the beginning and Nikki near Byron Bay and so began the idea of Paper Runway.  

There are many beautiful inspirational magazines on the market at the moment but none (that we could find) that embraced the humble medium of Paper.  There was a gap in the market that we saw and we believe Paper Runway has filled that gap.

Nikki has worked in family law for over 15 years, while always having an artistic and entrepreneurial desire.  She started a company, I Dream of Cupcakes in 2008 creating cupcakes after seeing a gap in the Bryon Bay market.  Whilst the company still creates delicious cupcakes Nikki takes a backseat role these days. Nikki’s balances life with husband Todd, 3 kids Maison (featured on the cover of Paper Runway), Riley and Isla, between working in family law, running online paper and stationery store Paper Scissors Rock Stationery and Paper Runway.  

Maree has worked as a graphic designer for over 12 years and whose career has allowed her to travel and work in London for 6 year of those, before returning to sydney with her husband and their 3 souvenirs (children). After returning to Australia Maree started little branch, an Australian made artisan stationery line with writer and illustrator, Anna Johnson. Maree tries to balance running after 3 kids, little branch, paper runway and a little freelance design.

Claire Brewster

How would you describe the distance between the first gem of the 'Paper Runway' idea and the day you were ready to publish the first issue? The journey between the “light bulb” idea to publishing Paper Runway has been far and long.  From creating the paper dress for the cover shoot to chatting to many many paper artists and talented people, feature interviews, searching for hot products, bringing it altogether and first realising we could actually print our magazine has been nothing short of a roll-a-coaster ride.  After all the paper products had been gathered, features confirmed and interviews returned, Maree’s email to Nikki with a first proof which was entitled “I think you are going to wet your pants”!   

What has been the most energising part of the PaperRunway journey so far? And the most exhausting?!  The most energising part of Paper Runway is discovering the amazing and abundant talent who work with paper in one way or another. We have loved working alongside each other.  Quite often we would email each other almost simultaneously with the same idea or possible feature artists.  We are certainly on the same page which is a really nice way to share in something we are both passionate about and turn it into a business.  Dream job really.

It has (certainly) been exhausting.  As we both run other businesses, time has been our enemy.  We have worked on the magazine mostly at night which has been tough, sleep deprivation is not our friend.

Cybele Young

Do you have a specific daily work structure or does it depend on the will of the wind?! Oh most definitely the “will of the wind” or “the will of small children” perhaps is more suited.  Daily work structure has been literally grabbing whatever time we can between our other businesses, husbands, children and life in general and then working at night.  Luckily we are both night owls –if we weren’t before we are now!

What was your favourite childhood activity?

Nikki recalls her favourite activity being at her grandmother’s home in Newcastle where they would play with wooden stamps and create cards and notes for the family.  Nikki’s grandmother is an avid creator to this day at 81.  She makes her own cards and dabbles in all sorts of paper creations, it too is her passion.  Nikki still have the original stamps that were her great grandparents that her father and his siblings played with.  The children, mainly Isla at aged 5, still play with them some 65 years later.

Maree's favourite childhood activity was to draw and paint. Her mum used to make paint with starch and she can still remember the smell of it. Using pieces of lovely paper in collage and clag paste... A bit of a collector Maree has many boxes of paper samples from over the years dating back to birthday cards from when she was 2. A little bit bower bird perhaps, yet feathered creatures make her squeal and shudder!

We wish Paper Runway a most brilliant first flight!


Love,
Jo and Lilly xxx