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Speaker 1: Ruthie's Table four presented by Sky.

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Speaker 2: You go out and Market, You go out, and Margie, Yeah,

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Speaker 2: go out. We've got some really good restaurants in market.

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Speaker 2: I really want to find out when you have your

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Speaker 2: own too. Yeah, yeah, Well it's not my restaurant, it's

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Speaker 2: my property. But it's on at TK Studios, at my studios,

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Speaker 2: and it's called the Perfect Place to Grow. And it's

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Speaker 2: named after a piece of my work, which I was

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Speaker 2: sort of hesitant about. But everyone seems to ask you.

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Speaker 2: It's a really long time. It's a really long name,

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Speaker 2: but people, and it's a trainee kitchen and it's for

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Speaker 2: long time young unemployed refugees. Actually the refugees tend to

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Speaker 2: do a lot of the teaching with the co as well. Yeah,

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Speaker 2: you know, really it's really amazing. And then and also

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Speaker 2: people with learning difficulties. And so far I think I

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Speaker 2: can't remember. I think they've put about thirty five people

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Speaker 2: into full time employment, which amazing. And what they do

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Speaker 2: is if someone's interested in in poultry, they learn everything

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Speaker 2: about chickens. They go to the farms for free range farms,

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Speaker 2: they learn how to plant. They do everything right from

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Speaker 2: the sauce right to the table, So it's pretty amazing

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Speaker 2: and it's actually it's a really good financially good going concerns.

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Speaker 2: It's pain its way and we've had quite a number

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Speaker 2: of well known chefs who have come down and cooked

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Speaker 2: with everybody and put on like Jose Bizarre came and

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Speaker 2: did a lunch and a dinner where he you know,

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Speaker 2: for free and he provided all the produce as well,

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Speaker 2: which is amazing. So for people in Margaret who can't

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Speaker 2: come up to London to go to dinner, it was

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Speaker 2: like a fantastic occasion. So how about the refugee Well,

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Speaker 2: they do a really amazing like fantastic like curries and

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Speaker 2: different spice dishes, different I'm not going to name them

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Speaker 2: all but because I can't, but it's really like very

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Speaker 2: niche and very unique and not not just playing cooking.

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Speaker 2: It's really fantastic. And they actually did cooked for my

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Speaker 2: They cooked for my dinner at White Cube for my

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Speaker 2: show last year. So for Idea it was for one

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Speaker 2: hundred and ninety people, because that is the identity.

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Speaker 1: You know, if you think that you leave a country,

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Speaker 1: you take the food with you, You take the food

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Speaker 1: that you've been cooking in your country, and then you

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Speaker 1: come to.

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Speaker 2: Yeah, but what I sort of think is that, you know,

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Speaker 2: the well people coming to people who come to this country,

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Speaker 2: they have something to bring, to offer something we don't have.

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Speaker 1: Can you imagine if we lived in London and there

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Speaker 1: were no restaurants other than British restaurants. You know, that's

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Speaker 1: what or you know that's what refugees, that's what people grow. Yeah,

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Speaker 1: they're growing excitement. They teach us how to dad, they

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Speaker 1: teach us how to cook, they teach us how to

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Speaker 1: do it.

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Speaker 2: You know, culturally, the world's a big place cuminary delights

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Speaker 2: and food. Of course it's going to be global and international.

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Speaker 2: There's no other way of doing it.

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Speaker 1: So there's four were going back to your training and

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Speaker 1: then tell me about the eye side.

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Speaker 2: On the outside, we've got Artist's Residency where we have

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Speaker 2: up to ten people that come for a fourteen month

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Speaker 2: of course, we have like usually about maybe a thousand

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Speaker 2: people apply for ten places and the criteria is that

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Speaker 2: they must be of a postgraduate level, so they don't

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Speaker 2: have to have done a post graduate but they must

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Speaker 2: be of that level and they put in an application.

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Speaker 2: The application they have to put in a two minute

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Speaker 2: maximum two minute film of them talking about themselves and

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Speaker 2: their work, and they put in ten images and they

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Speaker 2: write five hundred words about their work, and that's how

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Speaker 2: everybody applies. So now we do it for fourteen months,

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Speaker 2: so it's a full year and two months holiday. So

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Speaker 2: the two months holidays, three weeks at Christmas, three weeks

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Speaker 2: at Easter, and then two weeks somewhere else. But with

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Speaker 2: the studios are open so people don't have to they

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Speaker 2: don't have to go on holiday. They can carry on

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Speaker 2: working if they like, but we encourage them to stop

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Speaker 2: painting and to do other things. So and yeah, the

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Speaker 2: foot and the whole year is every day. The studios

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Speaker 2: are open twenty four hours a day, seven days a week.

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Speaker 2: If they have a part time job, they're encouraged to

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Speaker 2: do it. On a Thursday, Friday, Saturday, Sunday and Monday, Tuesday,

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Speaker 2: Wednesday is the days that we have visitors come in, tutorials, lectures, seminars.

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Speaker 2: I teach you teaching. How do you find the teaching? Well?

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Speaker 2: I love teaching you always. When did you start teaching?

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Speaker 2: Did you started teaching? I started teaching of art. First

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Speaker 2: place I talked with I think was at the maybe

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Speaker 2: the Raal College of Art in printmaking. And then I

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Speaker 2: taught at god or College of Art or All Academy,

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Speaker 2: the big lectures in different places. But I like where

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Speaker 2: I'm teaching now because I chose the people that I'm

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Speaker 2: teaching so I can build up a very good rapport

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Speaker 2: with them and also very honest one so that they

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Speaker 2: can really take criticism very well. And they're tough. And

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Speaker 2: this lot that we've got a really really, really good

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Speaker 2: they're just on it all the time and they're there.

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Speaker 2: They surprise me. So it's exciting, and it's really international.

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Speaker 2: And we've got people from India, Nigeria, Ethiopia, Mexico, Brazil

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Speaker 2: and it's free. It's all they have to do is

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Speaker 2: find their accommodation and that's it pay for their accommodation

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Speaker 2: and food. And in Margate it's quarter of the price

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Speaker 2: it is in London.

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Speaker 1: And so they and the people who teach the other

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Speaker 1: artists are they all artists.

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Speaker 2: Yeah, and top international artists as well, and not just artists.

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Speaker 2: We have people from museums, we have people from the

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Speaker 2: we just I'm ensure just did a project from Soberbis

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Speaker 2: and they did a fake they did a like pretend

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Speaker 2: au mission with him which apparently was really brilliant, really

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Speaker 2: good fun. We have art historians come in. We also

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Speaker 2: have life drawing once a week. We have we have

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Speaker 2: a performance artist in residence and they do projects with everyone.

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Speaker 2: And also we have the we have a professional Artist studios,

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Speaker 2: so we have about fifteen artists that work in the studios.

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Speaker 2: So they're working artists there. Yeah, working artists as well,

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Speaker 2: and they do they work alongside do things like Lindsay

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Speaker 2: Mendick opens up her studio and they do ceramic projects

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Speaker 2: with her. Other people do drawing projects or I know,

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Speaker 2: it's it's interesting, it's what happens when they leave. Yeah,

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Speaker 2: do you know the last from the last lot that left.

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Speaker 2: I think out of a majority of them showing, some

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Speaker 2: are doing exceptionally well, I mean phenomenally well. Two of

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Speaker 2: them were just like one of them, the anchor, she

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Speaker 2: won the Women Artist Award. She's shown with Flowers Gallery,

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Speaker 2: she had a sellout show, and Lola Strong Bret she's

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Speaker 2: been showing internationally. People there's a cue for her paintings. Yeah,

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Speaker 2: it's all very not Anna parcass I just put in

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Speaker 2: my show with Carl Friedman Gallery. No, they're really all

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Speaker 2: doing well and this lot. There are so many galleries

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Speaker 2: are interested in them, wanting to work with them, so

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Speaker 2: we try to say it's amazing.

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Speaker 1: Do you think it also if you'd had that chance

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Speaker 1: to go to your school when you were starting out,

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Speaker 1: that affected do you think you're But.

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Speaker 2: Things were different then I went to the Royal College

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Speaker 2: of Art. Yeah it was pretty good. Yeah, I mean,

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Speaker 2: but you weren't expected to go to the Royal College

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Speaker 2: of Art and then have a gallery. Yeah, you know,

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Speaker 2: this was I left in nineteen eighty nine, my masters.

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Speaker 2: So things were really different then. You know, all galleries

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Speaker 2: have and wallpaper and tiny little glasses of red wine,

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Speaker 2: and it was it was really different. It wasn't how

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Speaker 2: it is now at all. So when you say how

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Speaker 2: it is now, what is how it is now? Well?

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Speaker 2: I think people go to college now and they expect

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Speaker 2: to like have a one person show the day they

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Speaker 2: leave and the sellout show, and it isn't going to

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Speaker 2: be like that.

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Speaker 1: You know where do you think that expectation comes from them?

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Speaker 1: Do you think it becomes my generation?

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Speaker 2: Yeah? Yeah, yeah yeah, because my success of your gener

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Speaker 2: the success of my generation, and people think that that's

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Speaker 2: how it is, and it actually really isn't like that.

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Speaker 2: And then also for a lot of people in my generation,

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Speaker 2: they had that immediate success, and then after that it

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Speaker 2: was really hard work keeping up the so and I'll

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Speaker 2: say my generation, but I'm a little bit older than

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Speaker 2: a lot of them. And also I did I left

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Speaker 2: my masters in nineteen eighty nine at the Royal College

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Speaker 2: of Bottom. A lot of my contemporaries went to Goldsmith's

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Speaker 2: and just did a degree. They didn't do a master.

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Speaker 2: That is so the the yeah yeah yeah o A s. Yeah,

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Speaker 2: I'm pretty sure. Yeah h