Browse content similar to 19/04/2012. Check below for episodes and series from the same categories and more!
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Hello and welcome to The One Show with Matt Baker. And Alex Jones. | :00:19. | :00:24. | |
Our guest is a world famous artist who started out as the bad girl at | :00:24. | :00:28. | |
school. But ended up top of the class. So much so that the Prime | :00:28. | :00:32. | |
Minister says he wants her to paint him. It is Tracey Emin. | :00:32. | :00:40. | |
Where would you start with the Prime Minister? How would you | :00:40. | :00:47. | |
painting? Well, Yves Klein would have painted the Prime Minister a | :00:47. | :00:52. | |
blue and naked. That could be tricky! I would probably do some | :00:52. | :00:55. | |
drawings of him first. The first time I met the Prime Minister he | :00:55. | :01:00. | |
did tell me that himself. Because I do lots of sowing, which is really | :01:00. | :01:05. | |
painstaking, slow and laborious, I said that if he wants to spend six | :01:05. | :01:08. | |
funds in my studio while I do and embroidery of her and then fine, | :01:08. | :01:15. | |
but I expect he has other things to do! -- of him. Just a few days to | :01:15. | :01:20. | |
go until the Olympics, 99. You have design some of the posters. This is | :01:20. | :01:27. | |
for the Paralympics. That is just beautiful. That is a very good | :01:27. | :01:30. | |
message. Determination and inspiration were motto words for | :01:30. | :01:36. | |
the Paralympics. What I am really thrilled about is that my poster is | :01:36. | :01:40. | |
the designated poster for the Paralympics. That is what the | :01:40. | :01:44. | |
Paralympic bought toes. Any literature, anything historic, it | :01:44. | :01:49. | |
will be my poster. I'm really thrilled with that. It is great. | :01:49. | :01:56. | |
APPLAUSE. Tracey has also taken part to a | :01:56. | :02:00. | |
whole new level because she was the driving force behind an amazing new | :02:00. | :02:04. | |
concept of a fleet of Olympic aeroplanes. We will be chatting to | :02:04. | :02:08. | |
Tracey about that project later. They are just beautiful. For any | :02:08. | :02:12. | |
youngster growing up with an adult with a drink or drug problem, life | :02:12. | :02:17. | |
can be pretty tough. According to a new report, perhaps as many as 3.5 | :02:17. | :02:20. | |
million children live in a household affected by addiction. | :02:20. | :02:26. | |
Hayley Cutts meets one remarkable family. | :02:26. | :02:34. | |
Most of the time, my mum and Charley are arguing. It used to | :02:34. | :02:38. | |
make me so sad that I would sit down somewhere and make me start | :02:38. | :02:43. | |
crying. There were times when I have been chased around the house | :02:43. | :02:47. | |
with a claw hammer because my mum had just flown into a fury. We got | :02:47. | :02:53. | |
into an argument and did went too far. It all just went to hell, | :02:53. | :02:58. | |
really. This is the reality for children growing up with an | :02:58. | :03:02. | |
alcoholic parent. A quarter of all children in the UK now live with | :03:02. | :03:06. | |
the family member suffering from an alcohol or drug problem. This | :03:06. | :03:10. | |
family have agreed to tell me their story. For more than a decade, | :03:10. | :03:16. | |
Charley, Daniel, Alan and Ruby, have spent their time living with | :03:17. | :03:21. | |
an alcoholic mother. One of the biggest things in your child that | :03:21. | :03:25. | |
is having a parent around. So that you can talk to them about things. | :03:25. | :03:35. | |
:03:35. | :03:36. | ||
At the time of your childhood, your parent is your best friend. I was | :03:36. | :03:39. | |
tidying up, I was cooking, I was cleaning. I was just doing | :03:39. | :03:43. | |
everything. My little sister actually started calling me mum | :03:43. | :03:46. | |
because I had been looking after her for so long. That was pretty | :03:46. | :03:56. | |
:03:56. | :03:57. | ||
scary. How old were you? 13, 14. mum started going on, I would | :03:57. | :04:00. | |
aggravate her more so that she went after me instead of the kids. | :04:01. | :04:05. | |
put yourself in a line of fire to protect them? Yes. I have to | :04:05. | :04:13. | |
because they were too little to take it. A charity has been helping | :04:13. | :04:19. | |
his family to cope with their problems. Jordan of addicts are | :04:20. | :04:23. | |
seven times more likely to become addicts themselves, so the only way | :04:23. | :04:27. | |
to prevent this is to intervene early and offer support for the | :04:27. | :04:31. | |
whole family. Charley realised that he had to fill the gap left by his | :04:32. | :04:37. | |
mother's drinking. Servitor, parental role alongside his sister. | :04:37. | :04:43. | |
It was the most horrible part of my life. -- he took on the parental | :04:43. | :04:49. | |
role. It is difficult. Do you worry about following in your mother's | :04:49. | :04:53. | |
footsteps? Honestly, I can't say I do because I have seen how my life | :04:53. | :04:58. | |
is affected by it. If I was to have children, I don't think I could do | :04:58. | :05:02. | |
that to them but I am not 100% sure, because all of the problems can be | :05:02. | :05:08. | |
very overpowering sometimes, and I just feel like getting out of my | :05:08. | :05:15. | |
face on alcohol or drugs or whatever I can get hold of, just to | :05:15. | :05:23. | |
become not myself. After a year of being sober, mum Emma realises how | :05:23. | :05:26. | |
her drinking affected the lives of her children. I don't think I can | :05:26. | :05:30. | |
say that I was a mother. I wanted to be but that was blind doubt by | :05:30. | :05:36. | |
the addiction which had taken over everything. -- blanked out. I found | :05:36. | :05:40. | |
it difficult to spend time with them even. Sometimes I would be | :05:40. | :05:43. | |
extremely aggressive because I was angry at drinking and being out of | :05:44. | :05:47. | |
control and not being able to do what I felt I needed to do for them. | :05:47. | :05:51. | |
Sometimes they would come home and I was depressed and they would have | :05:51. | :05:55. | |
me crying. I think fear was a huge factor in their lives. Looking back | :05:55. | :06:00. | |
on that, that is not a good thing to put on your children. Obviously | :06:00. | :06:04. | |
I have said to them that I cannot change what happened at those times, | :06:04. | :06:08. | |
but I can show them that I have changed. Having to be apparent for | :06:09. | :06:14. | |
so long, I now feel lost because I don't have to be. -- to be the | :06:14. | :06:20. | |
parent. Now where do I belong? I have no role in life. So it is not | :06:20. | :06:24. | |
over for you? I do not think it will ever be over. I think this | :06:24. | :06:33. | |
will affect the rest of my life, well, forever. Wonderfully strong. | :06:33. | :06:37. | |
Three superb young people. Dr Jarvis is here. Charley was | :06:37. | :06:41. | |
speaking about resisting the temptation of using alcohol to blot | :06:41. | :06:44. | |
out his problems. Is this a recurring problem in children of | :06:44. | :06:48. | |
addicts? Tragically it is. You would imagine that if you have gone | :06:48. | :06:52. | |
through it yourself, the last thing you would want is to put your | :06:52. | :06:56. | |
children through red. The problem is that this is about the family. | :06:56. | :07:00. | |
Alcohol and drugs always affect the whole family, not the individual. | :07:00. | :07:03. | |
These children have learned that that is how you cope. Even if you | :07:03. | :07:08. | |
have not got an alcoholic parent, it is important to talk to children | :07:08. | :07:11. | |
about keeping away from alcohol until they are 16, to understand | :07:12. | :07:15. | |
they do not have to drink and give in to peer pressure. The Charley | :07:15. | :07:18. | |
the important thing is getting support as the family. He needs to | :07:18. | :07:24. | |
know how to be apparent and he has never learned. Emma is doing really | :07:24. | :07:34. | |
:07:34. | :07:34. | ||
well, so before you. Do addicts often relapse? -- sober for a year. | :07:34. | :07:39. | |
Tragically it happens all the time. Every month that Emma is sober, the | :07:39. | :07:44. | |
better chance she has got. It is all down to family and seeking help | :07:44. | :07:48. | |
early. If things are going wrong, make sure you speak to your GP in | :07:48. | :07:53. | |
the first instance, or somebody in authority who can help you. | :07:53. | :07:58. | |
really do wish the family all the best. Tracey, you work with the | :07:58. | :08:06. | |
NSPCC. You have seen how first hand young people can turn their lives | :08:06. | :08:12. | |
around. Yes, when you come from a dysfunctional family, you need a | :08:12. | :08:15. | |
lot of outside support. It cannot just work within because there are | :08:15. | :08:18. | |
no guidelines and there is nobody to show you the way. Like we have | :08:18. | :08:23. | |
been saying. The stuff I have seen with the NSPCC is terrific, and it | :08:23. | :08:27. | |
would break your heart that it is happening in this country. It is | :08:27. | :08:32. | |
not happening in a faraway place, it is right here, round the corner. | :08:32. | :08:36. | |
Talking about the NSPCC, I have just donated my favourite little | :08:36. | :08:43. | |
bird, which is an animated work, and you can go to the website. They | :08:43. | :08:49. | |
are �50 each and every single penny goes to the NSPCC. Brilliant. | :08:49. | :08:54. | |
last bid to say that and I have said it! -- they asked me to say | :08:54. | :08:59. | |
that. Your father was an alcoholic before you were born. Yes, really | :09:00. | :09:04. | |
heavy. Two bottles of whisky every day. He still managed to walk in a | :09:04. | :09:09. | |
straight line and function, I don't know how. Then when he found out | :09:10. | :09:16. | |
that my mother was pregnant with us, we are twins, he went and was cured | :09:16. | :09:20. | |
completely. He stopped drinking in 1963 and I never saw him take a | :09:20. | :09:27. | |
drink. He talked to you about it? Yes, constantly. He knew what the | :09:27. | :09:30. | |
guidelines were, and he would talk to me from a very good moral | :09:30. | :09:35. | |
perspective. The fact that he had been on the other side, I listened | :09:35. | :09:40. | |
to him. That is key, like you were saying. Communication is so | :09:40. | :09:44. | |
important. It is all about the family. Tracey, we could not have | :09:44. | :09:48. | |
you here without showing you some dazzling artwork. I am sure this is | :09:48. | :09:56. | |
not what you might expect. The submarine is a deadly weapon of | :09:56. | :10:00. | |
warfare and now familiar to us all. But 100 years ago it was an | :10:00. | :10:05. | |
entirely new and frightening threat. German U-boats were deployed for | :10:05. | :10:11. | |
the first time in World War One. They proved deadly, especially in | :10:11. | :10:14. | |
attacking civilian ships carrying food and supplies from North | :10:14. | :10:19. | |
America to Britain. Several ships a day were being lost, including the | :10:19. | :10:26. | |
Lusitania, torpedoed off the coast of Ireland in May, 1915, with the | :10:26. | :10:31. | |
last of 1200 lives. -- the loss. There may be needed to counter the | :10:31. | :10:38. | |
U-boat menace. An extraordinary solution came from an unlikely | :10:38. | :10:42. | |
source, the world of art. Dr Samuel is an expert in the use of military | :10:42. | :10:49. | |
camouflage and deception. I have always had a long-standing interest | :10:49. | :10:52. | |
in appearances. Initially the idea was to conceal ships, by making | :10:52. | :10:56. | |
them look the same as their background. Obviously, ships are | :10:56. | :11:01. | |
rather large and this turned out to be a non-starter. At that stage, | :11:01. | :11:05. | |
inspiration struck. They decided that rather than trying to conceal | :11:05. | :11:09. | |
things, they would confuse the enemy instead. Ships were painted | :11:09. | :11:14. | |
in bold, geometric designs, blocks of colour, stripes and strong | :11:14. | :11:20. | |
shapes. They were designed not to hide and disguise the vessels, but | :11:20. | :11:23. | |
confuse and disorientate U-boat commanders. The answer came from a | :11:23. | :11:26. | |
chap called Norman Wilkinson, and he was an artist with naval | :11:26. | :11:34. | |
experience. He called it dazzle camouflage, the idea being to paint | :11:34. | :11:38. | |
high contrast patterns on the sides of ships. The theory behind dazzle | :11:38. | :11:41. | |
ships was that submarine captain's hat to be close to their prey to a | :11:41. | :11:51. | |
:11:51. | :11:53. | ||
tap. This -- captains had to be close to their prey to attack. I | :11:53. | :11:58. | |
have come to the National Submarine Museum to meet a former submarine | :11:58. | :12:02. | |
captain. The captain wants to keep the periscope exposure down to a | :12:02. | :12:05. | |
minimum so we have to think carefully about what he wants to | :12:05. | :12:10. | |
get out of a Paris go before we use it. At this stage it is very tense. | :12:10. | :12:15. | |
He will not be very far away, so he has to be very careful he is not | :12:15. | :12:19. | |
detected himself. When the periscope goes up, the water has to | :12:19. | :12:22. | |
drain away so that you can see the target, which takes a couple of | :12:23. | :12:27. | |
seconds. U-boat commanders had six seconds to find their target and | :12:27. | :12:32. | |
make the decision to fire. The main aim was to confuse the commander | :12:32. | :12:36. | |
with an overload of information. In that brief moment, if you could | :12:36. | :12:40. | |
give lots of information, that would confuse him. And then when he | :12:40. | :12:44. | |
went to fire his torpedo, he would be in the wrong place. Bedazzle | :12:44. | :12:49. | |
technique took several forms. In this design, the shape of the black | :12:49. | :12:54. | |
patrol boat with an bow wave suggesting speed has been painted | :12:54. | :13:04. | |
:13:04. | :13:06. | ||
on to the stern of a larger vessel going in the opposite direction. | :13:06. | :13:10. | |
The sloping smokestacks here suggest it is travelling right to | :13:10. | :13:15. | |
left when it is travelling in the opposite direction. Dazzle became | :13:15. | :13:19. | |
widely used by the end of the First World War and even into the Second | :13:19. | :13:26. | |
World War. The advent of radar made it far less effective. Did it work? | :13:26. | :13:31. | |
Well... The evidence is equivocal. It is not easy to say from the | :13:31. | :13:35. | |
figures we have that it did actually work but it did not seem | :13:35. | :13:40. | |
to make things worse. People felt safe on the ships and the rumours | :13:40. | :13:43. | |
were that its stock to being torpedoed, so it was a moral | :13:43. | :13:49. | |
victory at least. -- it stopped you being torpedoed. Modern technology | :13:49. | :13:53. | |
makes dazzle obsolete but I think it is exciting. It is not quite | :13:53. | :13:58. | |
magic, but it is a brilliant trick. Fascinating stuff. You were glued | :13:58. | :14:08. | |
to that, or Leo. I want to go to Stockport now and go to that museum. | :14:08. | :14:11. | |
It bedazzled me and it was really clever and I am sure that it worked. | :14:11. | :14:17. | |
Just watching it, we were confused. If you have got six seconds in a | :14:17. | :14:22. | |
periscope, you do not know what is going on. Moving seamlessly from | :14:22. | :14:28. | |
painted boats to painted aeroplanes, as part of London 2012? That was a | :14:28. | :14:34. | |
very good link! You said it yourself! You have been mentoring a | :14:34. | :14:37. | |
young artist called Pascal. You have moved into designing | :14:37. | :14:46. | |
aeroplanes. What have you been It was a competition that British | :14:46. | :14:51. | |
Airways did to celebrate the Olympics. Which myself, and Heston | :14:51. | :14:55. | |
Blumenthal were to mentor for British Airways. My job was to | :14:55. | :15:02. | |
mentor an artist to design a plane. I wanted to turn the plane into | :15:02. | :15:09. | |
something else. Pascal Anson's design was fantastic, it is a bird. | :15:09. | :15:14. | |
Sometimes the simlest things are the best. It worked. I was so | :15:14. | :15:19. | |
chuffed when I saw it at the unveiling a few weeks ago. | :15:19. | :15:24. | |
And it was not just a bird, but a dove, the symbol of the Olympics. | :15:24. | :15:29. | |
This is remarkable footage, we can see it coming together here. Would | :15:29. | :15:34. | |
you like to get your head around one of those spray guns? I could | :15:34. | :15:39. | |
not get my head around it. It was so overwhelming as an idea. The | :15:39. | :15:44. | |
only idea I came up with was to put a picture of my cat on the back | :15:44. | :15:49. | |
with a little flag around his scarf. Something cute going through the | :15:49. | :15:53. | |
air. That is something about the dove. It is so lovely to look at. | :15:53. | :15:58. | |
On its maiden flight, all of the people on the flight were so | :15:58. | :16:01. | |
thrilled and excited to be on it. There will be nine of these planes. | :16:01. | :16:06. | |
What is really lovely is that the dove in the 1948 Olympics, the | :16:06. | :16:11. | |
doves were released as a symbol of peace for the whole world. There | :16:11. | :16:15. | |
had just been the Second World War. It was a symbol of hope. What I am | :16:15. | :16:19. | |
pleased with British Airways, first of all they let us do what we | :16:19. | :16:28. | |
wanted to do and the next thing was to remove the red, blue and white | :16:28. | :16:33. | |
flag. Just because we are hosting the Olympics, we don't own it. This | :16:33. | :16:37. | |
is for the world to celebrate. This is showing the world that Britain | :16:37. | :16:42. | |
is about other ideas, other things other than self-promotion it is | :16:42. | :16:49. | |
about peace, understanding, sharing. It will is good, the same with the | :16:49. | :16:52. | |
Paralympics. It is good. | :16:52. | :16:58. | |
We were look up -- looking up to the sky to find one. | :16:58. | :17:03. | |
What works on the ground does not work 15,000 feet on the air or as | :17:03. | :17:08. | |
it takes off it is the same with Heston with the food, what tasted | :17:08. | :17:14. | |
great on the ground does not taste good 36,000 feet on the air. The | :17:14. | :17:20. | |
same with the music and film. That is why everything in the air is | :17:20. | :17:24. | |
heightened. Well, look out for the nine | :17:24. | :17:28. | |
Olympics planes with the dove motif. According to Mike Dilger, it is | :17:28. | :17:34. | |
amazing what bird life you can spot close to the cities. When he told | :17:34. | :17:38. | |
us that owls were drawn to bright lights, we thought there was a | :17:38. | :17:44. | |
challenge, we asked him to prove it. I restricted my search to the M25. | :17:44. | :17:48. | |
A boundary around the most densely populated area of Britain. The | :17:48. | :17:53. | |
birds I am looking for are the tawny, the barn, the little, the | :17:53. | :17:58. | |
short-eared and long-eared owls. It is almost dusk. Finding them will | :17:58. | :18:05. | |
not be easy in an area of more than 2,500 square miles. To help, I have | :18:05. | :18:11. | |
three teems of expert birdwatchers spread out across London. They each | :18:11. | :18:16. | |
have an infra-red camera if they catch sight of an owl they will | :18:16. | :18:21. | |
call me. With the sun setting I have the first tip-off. There are | :18:21. | :18:28. | |
little owls that appear to be going in and out of what appears to be | :18:28. | :18:32. | |
its hole. To protect the birds I have to keep my exact location | :18:32. | :18:39. | |
secret. Once extinct in Britain, they are now trying after being re- | :18:39. | :18:46. | |
introduced in the 1990s. Stand here. That is where it hangs | :18:46. | :18:50. | |
around. Little owls use the same nesting | :18:51. | :18:55. | |
location year after year. Dave saw one here an hour ago. | :18:55. | :19:02. | |
Our patience is finally rewarded. It suddenly pops its head out it is | :19:02. | :19:07. | |
in that lovely crevasse there. It is such a gorgeous bird. You are | :19:07. | :19:13. | |
likely to see the birds during the day as that is when they hunt. It | :19:13. | :19:19. | |
is flying! Flying! Fantastic! First owl down. It is dark when I get the | :19:19. | :19:24. | |
next call. The family of tawny owls have been | :19:24. | :19:28. | |
spotted in a Central London cemetery. That is exactly what I | :19:28. | :19:35. | |
was hoping for. There was an adult calling about an hour -and-a-half | :19:35. | :19:43. | |
ago, maybe a little less. Rural owls feed on small mam | :19:43. | :19:47. | |
unanimouslys, but in the city, they become more reliant on small birds. | :19:47. | :19:51. | |
That is why this is a perfect location. | :19:51. | :19:56. | |
Can you hear that? The tawny owl calling in the dead of the night. | :19:56. | :20:06. | |
:20:06. | :20:12. | ||
Oh, it is close! It is really close. I see it! I see it! I've got to... | :20:12. | :20:22. | |
:20:22. | :20:23. | ||
I've got my second owl! It's now 1.00am. One of my support team is | :20:23. | :20:28. | |
at a location where barn owls have been seen before. | :20:28. | :20:33. | |
This is the area where they have been hunting. Lots of grass for | :20:33. | :20:36. | |
them to hold the voles and the mice that they feed on. | :20:36. | :20:42. | |
In the countryside, barn owls commonly hunt at dusk, but in | :20:42. | :20:47. | |
cities they've become exclusively nocturnal hunters. After two hours, | :20:47. | :20:56. | |
nothing, but here is footage of one filmed within a mile of the M25. | :20:56. | :21:01. | |
Well, it is just before dawn after the end of a long night. I'm about | :21:01. | :21:10. | |
to arrive at Rainham Marshes. Yesterday, the cameraman here | :21:10. | :21:15. | |
captured another special owl. I am hoping to see it this morning. | :21:15. | :21:23. | |
How are we getting on, any sign of the shorted-owl so far? Not yet. We | :21:23. | :21:30. | |
are trying. This marsh -land is a perfect place | :21:30. | :21:35. | |
to spot then, but in addition to last night's footage, I'm keen to | :21:35. | :21:40. | |
set up the camera trap we set up two days ago. | :21:40. | :21:46. | |
Shorted owl it is flying! It's is flying right past. | :21:46. | :21:53. | |
Here we go. Lovely. Well, there we go. I have completed | :21:53. | :21:58. | |
my dusk until dawn challenge. Two close encounters and footage of a | :21:58. | :22:02. | |
third owl. It was a tough challenge, but the results are good enough for | :22:02. | :22:10. | |
me and there is always another day. Nearly, Mike. Mr Mike Dilger is not | :22:10. | :22:19. | |
the only fan of owl, is he -- owls, is he, Tracey? No. I love them. | :22:19. | :22:26. | |
Now, can we split screen this. This is a self-portrait? It is. | :22:26. | :22:34. | |
Why did you choose an owl? I will not say on daytime television. | :22:34. | :22:38. | |
Fair enough! Now, Tracey, on the subject... To be honest, I will not | :22:38. | :22:44. | |
lie. On the subject of your art, lots of | :22:44. | :22:48. | |
people have an opinion about it. Is there a common theme? How do you | :22:48. | :22:53. | |
describe your style and work? I come from a long tradition of a | :22:54. | :23:00. | |
classical old-fashioned idea of art. First of all it is personal, it is | :23:00. | :23:04. | |
subjective and I'm passionate about what I do. It is steming from me, | :23:05. | :23:09. | |
what I am thinking, witness, see in, believe in, the philosophy that I | :23:10. | :23:15. | |
follow. It is like I have a constant dialogue that I am | :23:15. | :23:18. | |
constantly working out through my work. | :23:18. | :23:22. | |
Words feature? A lot of words. The neon stuff is lovely. | :23:22. | :23:28. | |
You do have an exhibition coming up over the summer in your home town | :23:28. | :23:33. | |
of Margate. What can we expect to see? It is a new body of work. I'm | :23:33. | :23:42. | |
showing with two gentlemen, Rodin and Turner, I am showing their | :23:42. | :23:51. | |
erotic works alongside mine. I am not -- nervous about it. Not many | :23:51. | :23:56. | |
artists have the chance to show the art in the town where they grew up. | :23:56. | :24:01. | |
Margate is very small. But Turner showed there, he came | :24:02. | :24:05. | |
from there. What I am hoping is that even if people don't like my | :24:05. | :24:10. | |
work, go down to Margate to slag it off. Just go to Margate! It is | :24:10. | :24:13. | |
beautiful. The gallery is fantastic? Margate | :24:13. | :24:17. | |
is beautiful. It has the most beautiful sun sets in the world, | :24:17. | :24:23. | |
that is why Turner painted there. He also had an affair with his | :24:23. | :24:28. | |
landlady, Mrs Booth. I always say if you want a dirty weekend, don't | :24:28. | :24:34. | |
go to Brighton, go to Margate. It is really dirty down there! Well, | :24:34. | :24:40. | |
there is so much to Tracey's work. There is the My Bed, of course, it | :24:40. | :24:46. | |
got us thinking, we know what Tracey's bed means to her, what | :24:46. | :24:53. | |
does your bed mean to you? I love my bed because our son Jasper was | :24:53. | :24:59. | |
born in the bed. At 4.00am one morning, the bed | :24:59. | :25:04. | |
collapsed while I was feeding him. The mattress fell through with me | :25:04. | :25:08. | |
on it. Jasper carried on feeding, my husband Paul was fast asleep and | :25:08. | :25:17. | |
would not wake up! Welcome to my home. This is my cab. I work as a | :25:17. | :25:21. | |
trucker Monday to Friday. Like in your own house you make it homely. | :25:21. | :25:28. | |
You put your stuff on it I have kids, so, hence the fact I have the | :25:29. | :25:34. | |
stuffed toys. I like to talk to them at night! Basically, obviously | :25:34. | :25:41. | |
my spwed underneath, with the drawers here where I keep random | :25:41. | :25:51. | |
:25:51. | :25:52. | ||
things. I prefer my truck bed to my bed at home. Is that really sad? | :25:53. | :25:58. | |
love our bed as it is our first marital bed. We have slept apart. I | :25:58. | :26:04. | |
have a heart problem. I sleep on the double bed down here. Mike is | :26:04. | :26:09. | |
upstairs. Now we have the bed. Basically we can really start to | :26:09. | :26:17. | |
feel like we are married. You are going to make it? Yes. | :26:18. | :26:27. | |
:26:28. | :26:33. | ||
Ah! Comfy at last! Our new bed! like my bed because it's got secret | :26:33. | :26:38. | |
compartments and most of all it's got my favourite football team, | :26:38. | :26:46. | |
Chelsea. My stairs are good as my sisters can't get up it. My sisters | :26:46. | :26:55. | |
are 22 and 27 years old. All of them are really annoying! I like my | :26:55. | :27:00. | |
bed because it is really high up in the room. Because it is safe and | :27:00. | :27:08. | |
snuggley. I love my bed. Knight. | :27:08. | :27:13. | |
-- night, night. There we are, the lights go out. | :27:13. | :27:17. | |
I want to ask you something, everyone knows you share the sofa, | :27:17. | :27:25. | |
but in the studio I have heard that you share a bed? Hang on! It is | :27:25. | :27:29. | |
factuallally correct. Basically, I have moved house, I am sleeping on | :27:29. | :27:37. | |
Matt's sofa bed, but that is in my bed, not in Matt's house. There it | :27:37. | :27:45. | |
is!. That is embarrassing! Not as embarrassing as mine that half of | :27:45. | :27:50. | |
the world saw. It was recently in Adelaide. Apparently when it was on | :27:50. | :27:55. | |
display, a lot of British people went and waved Union Jacks around | :27:55. | :28:02. | |
It must be remade every time it is done? It is. Every time I do it, I | :28:02. | :28:08. | |
sort of go... Now, when a museum does it, they wear gloves and | :28:08. | :28:13. | |
things, masks, they think it is so disgusting! Tonight, we have | :28:13. | :28:23. | |
:28:23. | :28:27. | ||
noticed with the dove, with the Paralympics, with the charity, | :28:27. | :28:31. | |
birds are very important to you? When I was depressed, I was so for | :28:32. | :28:38. | |
a couple of years. With the art I wanted to make something that made | :28:38. | :28:42. | |
me feel good. I didn't want to draw myself. So I started with birds and | :28:43. | :28:49. | |
I have carried on doing it. They make me feel good. It is like | :28:49. | :28:55. | |
angels, like the owl, when we saw it flying, it was so beautiful. You | :28:55. | :28:57. |