tag:blogger.com,1999:blog-6537699916030746542024-03-05T22:46:41.479-08:00WRITE RESPONSEWriteResponse; An arts reviewing site with a collection of Tasmanian writers contributing and reflecting on creative endeavour. Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comBlogger286125tag:blogger.com,1999:blog-653769991603074654.post-17226420835514986552018-04-18T16:24:00.001-07:002018-04-18T21:58:11.355-07:00The Riddle of Washpool Gully<div class="s3" style="line-height: 1.8;">
<span class="s4" style="font-family: "arial"; font-size: 12px; font-weight: bold; line-height: 14.399999618530273px;">Presented by Terrapin Puppet Theatre </span><span class="s4" style="font-family: "arial"; font-size: 12px; font-weight: bold; line-height: 14.399999618530273px;">in association with</span><span class="s4" style="font-family: "arial"; font-size: 12px; font-weight: bold; line-height: 14.399999618530273px;"> Dead Puppet Society</span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s4" style="font-family: "arial"; font-size: 12px; font-weight: bold; line-height: 14.399999618530273px;">Written and d</span><span class="s4" style="font-family: "arial"; font-size: 12px; font-weight: bold; line-height: 14.399999618530273px;">irected by</span><span class="s4" style="font-family: "arial"; font-size: 12px; font-weight: bold; line-height: 14.399999618530273px;"> David Morton</span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">Review b</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">y Anica Boulanger-Mashberg</span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">‘</span><span class="s6" style="font-family: "arial"; font-size: 12px; font-style: italic; line-height: 14.399999618530273px;">The only way to get to Washpool’</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;"> says the storyteller, </span><span class="s6" style="font-family: "arial"; font-size: 12px; font-style: italic; line-height: 14.399999618530273px;">‘is to take the wrong road, without knowing it.’</span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">Unless you go to the theatre to find it. Which you </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">definitely </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">should</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> – whether or not you have small persons in tow</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">.</span></div>
<div class="s3" style="line-height: 1.8;">
<div style="font-size: 18px;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">A young boy and his mother arrive in Washpool hoping to escape the small ghosts of their own past, but </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">are instead</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> confronted by their present and the way forward. Against this light </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">cautionary tale</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> of family </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">dynamics</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> builds the bigger </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">mystery</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> of the ‘monster’ said to inhabit the gully and terrorise the tiny town. What follows is an unexpected relationship with this ‘monster’.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguxImkoZQ0QWMsrMK3q6ty4BuePd4I2LuYoVh8OkbRmMgYdOAgEVA8mtcCuvCwu6uCmVBDUORdX_DyJkXCFH_JqXwgz5TSTE6adP5dZbkK9sRMi6O8UjV2UiG01WYyNJv30SGEwh5AkDUf/s1600/Screen+Shot+2018-04-19+at+2.56.51+pm.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1082" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguxImkoZQ0QWMsrMK3q6ty4BuePd4I2LuYoVh8OkbRmMgYdOAgEVA8mtcCuvCwu6uCmVBDUORdX_DyJkXCFH_JqXwgz5TSTE6adP5dZbkK9sRMi6O8UjV2UiG01WYyNJv30SGEwh5AkDUf/s200/Screen+Shot+2018-04-19+at+2.56.51+pm.png" width="200" /></a></div>
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"><br /></span></div>
<div style="font-size: 18px;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"><a href="https://vimeo.com/245129423">Sneak Preview</a></span></div>
<div style="font-size: 18px;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"></span><br />
<a name='more'></a><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"><br /></span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s6" style="font-family: "arial"; font-size: 12px; font-style: italic; line-height: 14.399999618530273px; text-indent: 36px;">The Riddle of Washpool Gully</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">is greater than the sum of its splendid parts</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">. Those parts are many. A </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">slick cast (Guy Hooper, Melissa King, and Drew Wilson) who have individual integrity and gravity as well as ensemble strength</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">. Gentle direction (David Morton) that makes </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">transitions between actor, puppeteer and narrator</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> (and between scales – human to puppet)</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">seamless and satisfying</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">. A delicate, poetic, entrancing, yet bold and grounded narrative that sweeps you up from its first to its final words. </span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"><br /></span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">A dedication to storytelling</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> (never to the exclusion of a sense of play)</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> that grips the audience and leaves not a second wasted, </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">yet</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> never </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">with any </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">hurry to the journey. A </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">gorgeous</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> score (Heath Brown) and a simple but elegant, almost fluid set, which together complete the world of the play and </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">weave a safety </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">hammock</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> below you as </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">you step</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> in</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">to freefalling</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">,</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"> willing disbelief for the entire 50-minute performance. </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;">Puppetry that is confident (with only occasional mechanical let-downs) yet never showy, always in service of the story. </span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px; text-indent: 36px;"><br /></span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span style="font-family: "arial"; font-size: 12px; text-indent: 36px;">This production made me cry. It reminded me what theatre can do, and be. It’s beautiful. Go see it.</span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span style="font-family: "arial"; font-size: 12px; text-indent: 36px;"><br /></span></div>
<div class="s3" style="font-size: 18px; line-height: 1.8;">
<span class="s6" style="font-family: "arial"; font-size: 12px; font-style: italic; line-height: 14.399999618530273px;">The Riddle of Washpool Gully</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;"> is presented by </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">Terrapin</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;"> </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">(in association with Dead Puppet Society) </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">and has a season at the Theatre Royal Backspace (</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">13 </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">– </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">21 April, times vary</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">) as well as </span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">in Launceston at the Earl Arts Centre</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;"> (</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">27 April</span><span class="s5" style="font-family: "arial"; font-size: 12px; line-height: 14.399999618530273px;">).</span></div>
<div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comTasmania, Australia-41.4545196 145.97066470000004-47.5322466 135.64351620000005 -35.376792599999995 156.29781320000004tag:blogger.com,1999:blog-653769991603074654.post-84232507507489590292017-06-13T08:09:00.001-07:002017-06-13T08:41:01.219-07:00DARK MOFO 2017 - I make my debut as a performer <h3 style="margin-bottom: 0cm;">
Two Performances</h3>
<div>
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Imagine. You are
brought to an open field on the edge of an island on the edge of the
Southern Ocean. In the centre of the field stand eight rows of black plastic chairs in a cleared
rectangle of dark earth but you are not invited to sit. Your group, people you have never met, assembles in a
semicircle around the chairs. It is long past midnight. The moon,
just past its full, slides behind a dark cloud. You can hear waves
breaking on the beach. Nobody speaks. You begin to wait.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjES33k8oiNqgZCCBBpkhQTBD6V6YtOKBZ5B_Qj16G0vpt_3ThrBCsa5qTU5zqAXE0__tIXqywtz4zIcipYPS5kWFrN6tp3tl87yD7kYPKGGv4CJieRHRlqQlq0VQ0e5AAbfId8wvVDdxdn/s1600/islandDwg002_sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 0.75em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="300" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjES33k8oiNqgZCCBBpkhQTBD6V6YtOKBZ5B_Qj16G0vpt_3ThrBCsa5qTU5zqAXE0__tIXqywtz4zIcipYPS5kWFrN6tp3tl87yD7kYPKGGv4CJieRHRlqQlq0VQ0e5AAbfId8wvVDdxdn/s200/islandDwg002_sm.jpg" width="200" /></a></div>
<div class="western" style="margin-bottom: 0cm;">
Lights are bobbing
across the field, approaching. A chant, distant on the breeze: “One,
two, three, four. One, two, three, four.” The voice calling cadence
is cracked, the timing irregular. A cloud passes and sudden
moonlight reveals a ragged column of people, four abreast, not
shuffling, but not marching either; no-one could march to that uneven beat.
The crowd parts to let them through and the caller falls silent. </div>
<div class="western" style="margin-bottom: 0cm;">
<br />
Quietly, people file in to occupy the chairs, and now you see
they are old. Senior citizens in their night clothes, dark dressing
gowns over regulation striped pyjamas, grey hair escaping from
identical black beanies. Grandmothers and grandfathers dragged from
their institutional beds to confront the Hour of the Wolf in a
windswept field. Another cloud drifts across the moon as the lights
go out. Waiting resumes.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
There is a click,
tentative. Another, hesitant. A third, then a rising clatter of
percussive sound. Sparks flash between the ancient fingers. Seventy
two pairs of wrinkled hands, seventy two pairs of quartz pebbles from
the seashore rise and fall. A rhythm builds, accelerates, breaks
apart, a new one forms. Light follows shadow as clouds obscure and
reveal the waning moon. The clack of rock striking rock goes on, and
on, relentless as the waves striking the beach. Patterns of light
and sound are mesmerising, primal. The old folk are absorbed in
their pointless occupation, striking sparks from stones. Minutes
pass, become an hour.<br />
<br />
A shock when the noise suddenly ceases.
Carefully, reverently, the performers place their white stones on the
dark soil in front of them, rise and file silently away. The caller
resumes - “One, two, three, four, one, two, three, four”; a
better cadence this time. As the column vanishes into the darkness
you are left with the moonlight and the ocean.
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
A passing speedboat
shatters the mood.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It's winter again, and
that means Dark MoFo, Hobart's feast of noise and light, of music,
film, theatre, art exhibitions and amazing food. The performance on
Bruny Island was <i>Empty Ocean,</i> Mike Parr's latest creation. I
was one of the seventy two participants.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
At MONA a new
exhibition opened on Saturday – <i>The Museum of Everything</i>. It
is a maze of gallery spaces chock full of sculpture and painting
created by so-called “outsider” artists, by artists who are
intent on expressing their opinions and emotions regardless of
prevailing movements and fashions in contemporary art. Here are no
self-conscious intellectuals rebelling against their art-school
training; these artists are totally serious and sincere. For many of
them theories of art, traditional art making materials and
techniques, and often the entire “art world”, are simply
irrelevant. Some don't even think of themselves as artists; they just
make stuff. Like the best punk rock, it's often raw and confronting.
Some pieces are incredibly beautiful; some so bad they're brilliant.
All are fascinating, challenging and thought-provoking.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwXMnzVyaorSR4lZkyWkIXXipoIp72oBb_2ICLQK91908NqyflDkmT39hl9T5J9yb0Mu1o98aTfiGAkxPNWW_GSO8r-iUUGIzfPXIPAn5RGNTtjx9vo1tcckPVf5CXxImH9kEi6_xcsajs/s1600/EPF_7406.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1348" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwXMnzVyaorSR4lZkyWkIXXipoIp72oBb_2ICLQK91908NqyflDkmT39hl9T5J9yb0Mu1o98aTfiGAkxPNWW_GSO8r-iUUGIzfPXIPAn5RGNTtjx9vo1tcckPVf5CXxImH9kEi6_xcsajs/s320/EPF_7406.jpg" width="213" /></a></div>
<div class="western" style="margin-bottom: 0cm;">
The
entertainment at the opening must have followed this do-it-yourself
aesthetic for I was invited to perform as part of <i>Gunshy Polyphony</i>, a group of seven
singers. </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I am the old lady in the front pew who sings all the hymns
very loudly, out of tune and probably in the wrong key, but today
the emphasis was on dissonance. I can do that. We improvised
vocal polyphonies while strolling around showing off the most
fabulous luxury fake-fur coats from Melbourne designer Kathryn
Jamieson. </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Her <i>Gunshy</i> label is attracting attention world wide
and fans include Wutang Clan and Conchita Wurst. This collection
certainly attracted attention on the MONA tennis court. Not me in
the photo, I hasten to add – but I was lucky enough to wear this
coat.
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
You can see the rest of the collection here <a href="http://www.gunshy.com.au/category/pimp-it-bitch-collection-aw16-high-end-range">http://www.gunshy.com.au/category/pimp-it-bitch-collection-aw16-high-end-range</a></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
These
two experiences could not have been more different. Those of you who
are actors or performance artists no doubt take all this in your
stride, but I am a visual artist. I spend my time locked away alone
in the studio, only occasionally emerging to show myself at an
exhibition of my paintings.
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Performing
in public is a new and exciting experience, not least the “dressing
up” part. Kathryn's coats lift the spirits; they are so frivolous
and extravagant they just made me happy. In one of her coats I could
do anything – even sing! Getting into costume in the hall on Bruny
Island had the opposite effect. I suddenly felt uncomfortably
diminished, institutionalised; nobody is a hero in striped
flannelette pyjamas.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Several
of the performers were fellow members of the Hobart Walking Club. We
are used to seeing each other with backpacks and stout boots, covered
in mud and leeches, scrambling over rocks and logs half way up a
mountain. Now we looked like a lot of non-descript geriatrics and I
kept thinking of Art Spiegelman's famous graphic novel <i>Maus.</i>
In fact, Mike Parr made a point of reminding us we were all born
around the end of the Second World War, and referred to Nazi death
marches. However, he also talked about positive things, like the
significance of the number seventy two - it's Mike's age – and
being a child playing games with his brother, striking sparks from
pieces of flint. And he exhorted us to go out there proudly. We did.
And it felt great.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
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<div class="blogger-post-footer">What do you think?</div>Elizabeth Barshamhttp://www.blogger.com/profile/00458394232386427313noreply@blogger.comHobart TAS 7000, Australia-42.8821377 147.3271949-42.905408200000004 147.28685439999998 -42.8588672 147.3675354tag:blogger.com,1999:blog-653769991603074654.post-36194168414539777892016-03-24T17:39:00.000-07:002016-05-09T17:05:58.777-07:00Pedalling Back <style>
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<span lang="EN-US">Written and performed by Jeff Michel</span></div>
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<span lang="EN-US">Blue Cow Theatre Inc.</span><br />
<span lang="EN-US">Directed by Frank Newman and Melissa King </span></div>
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<span lang="EN-US">Touring through Tasmania Performs </span></div>
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<span lang="EN-US">Intelligent, fun, absorbing and elegantly
simple. These are a few ways to describe Jeff Michel’s biographical theatre
piece without giving too much away, because to go into detail would be tantamount
to a spoiler. To detail Michel’s artfulness in conveying time and context would
take away the delight of just working it out throughout the play. So too would be
describing Michel's neat set, and clever sound and lighting by Matthew Fargher and Ghost McDonald respectively.</span></div>
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<span lang="EN-US">What can be said without giving too much
away is that Michel’s nostalgic devices will grab anyone in the audience that grew
up through the 80s and 90s. With the challenges of being a teenager not exclusive
to any one decade, this is a play that anyone over thirteen can relate to.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-US">Michel’s play has evolved through a series
of great theatre development schemes, including the Tasmania Performs Artist
Residency, <a href="http://bluecowtheatre.com/" target="_blank">Blue Cow Theatre’s <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Cowshed</i></b></a> program, the Theatre Royal,
Ten Days on the Island, Tasmania Performs Rawspace and the Tasmanian International
Arts Festival. It is described as a first, both for Michel as a playwright and
Melissa King as co-director, working alongside Frank Newman. Both should be
thrilled with the outcome of their first steps out into their new arenas.</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Pedalling
Back</span></i><span lang="EN-US"> will tour Tasmanian regionally from 30 March
to 9 April via Tasmania Performs. This is a golden opportunity to see
thoughtful, good quality theatre outside of the city centres and deserves to be
supported. Come on all you regional audiences, get yourself a couple of tickets!
Check out tour dates and venues at <a href="http://tasperforms.com/2016-2/pedalling-back" target="_blank">Tasmania Performs</a>.</span></div>
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by Stephenie Cahalan<br />
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10.0pt;">Declaration: I attended the performance as a guest of
a company member and with no suggestion of writing a review. However, I was so
delighted with the show and so pleased that audiences across Tasmania will have
the chanc<a href="https://www.blogger.com/null" name="_GoBack"></a>e to see it, that I felt compelled to write it
up.</span></i></div>
<div class="blogger-post-footer">What do you think?</div>Stephenie Cahalanhttp://www.blogger.com/profile/02311457559345933832noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-10463913088530505222015-10-22T14:59:00.000-07:002016-03-23T22:58:35.901-07:00Darryl Rogers reviewed in Brisbane Show<em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.jugglers.org.au/2015/10/19/numinous-i-at-jugglers-art-space-oct-9th-to-21st-2015"><span style="font-family: "arial" , "helvetica" , sans-serif;">Article written by Sophie Rose (first published on jugglers.org.au)</span></a></em><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On entering numinous- i, one is invited into a space of sanctified quietness. A series of large, busy, Primitive-esque paintings by David Howard encircle a suspended black box, containing Darryl Roger’s hologram piece, Sehnsucht; and so, pagan visions surround the tabernacle. A sense of ritual undoubtedly informs both sets of work, yet is manifested quite differently in each. Howard gives a wild, uncontained spilling-forward of figures: as if spirits have seeped from the canvas into the gallery space. The shapes seem to balloon before one’s eyes: the image is full of gaseous intensity. Rogers provides a far more internal experience. One must enter his space; the art becomes a kind of confession-box and, as such, the surrounding area of the gallery begins to concave in on the box. The coupling of these two artists is something like the coming together of the voodoo and the sacramental, to create a meta-spiritualism.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It is from this that we can consider both artists in a dialogue with Magritte’ian surrealism. In both works, one figure slowly morphs into another. In Howard’s paintings this transition is spatial. Thick coils join one shape to the next, springs jump out from the background and various substitutions – a saucer for eyes, a river for a tongue and the face divided like tectonic plates- form conceptual links between shapes. What Howard makes apparent is that the mind does work to see saucers in eyes and connective “coils”, that is associations, between the objects in our world. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Rogers achieves much the same effect in the temporal. His hologram is projected onto a model stage, allowing a pantomime of associations to unfold. Against a backdrop of ocean, a moon superimposed by a sheet of clouds sits. On looking at this collage one cannot help but separate the elements: a moon sits above the sea; a moon lies in the sky with clouds. Each still forms a condensation of associative imagery: a reduction of common memory into a code. And yet nothing stays still. The moon fades into brick, the brick into wild dog. If in automatic drawing the hand is allowed to move freely over the page, then here we have something like automatic theatre: the show moves freely from one concept to another, following the thread of a playful mind. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Through its bold and heavy forms, Howard’s series brings Surrealism back to its Cubist and Primitive roots. The shapes in the work push out from the canvas, tense behind the picture plane, bouncing off its surface. The small sections of titanium white leap out at the viewer, above the collection of deep greens, yellows and red. The images appear to bubble to the surface, pushing against the picture plane. Like water boiling beneath the lid of a saucepan, the tightness of Howard’s painted forms creates a repulsive force against the eye. The paintings provides a retrospective insight into this repulsive nature of surrealism and the surreal nature of the repulsive: often we say of something strange, a dream perhaps, that it cannot be grasped and that it seems to work against one’s memory. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the other hand, Rogers brings Surrealism forward to what may be considered its natural conclusion: the virtual realm. In digital art, images can be collected, stored and re-arranged with great ease; pictures of different times and places can be brought into the same space with the click of a button. As Rogers explains, many different images stream into his process:<br /><em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">My digital art is approached like a collage. I collect images, video, 3D meshes and other art works that interest me, over a very long period of time. The video imagery in Sehnsucht was collected from disparate times, a holiday in the Whitsundays, a walk on a beach in Tasmania, a chance connection with a 3D modeler in Madrid. (Darryl Rogers, 17 October 2015)</em><br />If we consider the various images one sees on a computer screen, associations between them are not necessarily pre-ordained but generated by their collection in the one space. In other words, Rogers’ images are not products of a singular theme but hold a potential to create a number of different ideas, depending on their arrangement. In this way, a “memory” between objects is creative: one does immediately know the connection between the sea and a brick wall but is forced to create one; both can shield objects from view, perhaps. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">However, the spiritual is not merely the surreal but also the ritualistic. Here it is worth considering the use of repetition in both artists’ work. In Howard’s paintings, rhythm bounces form one canvas to the next. As a series, one might be tempted to think that Howard’s work is monotonous: that each canvas is very similar to the next. However, what may appear at first to be repetition is, more precisely, insistence. In Gertrude Stein’s famous line “a rose is a rose is a rose”, one does not hear “rose” in monotone but with a varying stress on each repetition. Similarly, each canvas by Howard embodies a different character; has a different stress to it, one could say. Motifs are carried throughout the series, in particular, wires and coils. Yet from painting to painting we see wires thicken, coils accumulate and spirals tighten. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The repetition in Rogers’ work is more dreamlike, as if following a steady mantra. The transitions from one frame to the next are regular and slow. Sehnsucht is a German word that means to long for a home never able to be obtained. It is to feel a kind of dislocated nostalgia: to miss something without knowing precisely what that object of desire is. Watching Rogers’ work for a few minutes entails seeing repetitions of the video. After a while, one cannot remember whether the memory of an image in the hologram originates in real life or from a prior cycle of the tape. The work is not only about a dissociative memory but in fact induces the very feeling of sehnsucht in its rhythm. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The exhibition lives up to the expectation set in its title. Both artists achieve that specific combination of dream and ritual embodied in religious sensation. This is a show that matches its theory with competence and beauty. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">— <span class="fn" style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Jugglers</span> <span class="posted" style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">19/10/15</span></span></div>
<div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-58945299844224867612015-10-22T14:06:00.000-07:002015-10-22T14:06:35.463-07:00Upcoming Exhibition by Marisa Molin<div style="line-height: normal;">
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<i style="font-size: 12pt;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">Fragments of King</span></i><span style="font-family: Calibri, sans-serif; font-size: 11.5pt;"> sees artist <a href="http://marisamolin.com/">Marisa Molin</a> again traipsing the periphery. This time, the shores of the other leader of islands laid out in the Bass Strait like a game of solitaire: King.</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">Years prior to Marisa’s visit, the debris of a biological phenomena (interestingly, more commonly associated with Flinders Island of the last <i>Fragment series</i>), had swung wide and swept up on the shores of King Island, mirroring the many ships that had gone crooked and drowned against the island throughout the nautical-dependent years of the 19th and early 20th century. This echo of doomed passage continues through nomenclature and mythology for in fact, in both intact and shattered form, the biological phenomena was that of another kind of ship; the discarded shells of the Paper Nautilus or <i>Argonaut nodosa*.</i></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">There is something wonderfully paradoxical about the <i>Paper Nautilus.</i> We are predominantly acquainted with their exterior remnants and by the time such remnants drift ashore (somewhat mysteriously every few years and in their thousands), their soft interiors are long rotted out. In our minds, we hold the name, ‘paper nautilus’, and in our hands, exquisite pressed-tin shells of <i>la mer:</i> no wonder we imagine ethereal creatures that glide through the water like elegant ships and yet, the Internet outs the <i>Paper Nautilus </i>as actually, a jaunty, dinghy kind of vessel and the animal itself, as having a vertically flattened face and a feature that can only be described as a proboscis or snout. I think this is a paradox that is emblematic of the dualism of imprinted surfaces: where one side is raised, the other is depressed. Where one side is intended for appearances, the other is utilitarian and circumspect.</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">It is therefore fitting that the wreckage of these Argonauts became a significant motif for Marisa, as did the remnant plugs of the industrialised Bull Kelp. Beyond the undeniable beauty of Molin’s work, is the process of creating them, the movement away from the origins, in which the capturing of impressions not only mimics, but also overlaps with, found surfaces as well. It is a process that tenderly disrupts the surfaces of things, where they start sliding into and across each other not unlike the distribution of spring ice-sheet floes. In Molin’s work, the surface of human skin moves beneath a capture of another skin – animal and plant, nautilus and kelp. Further, the skin’s material transformation, from the organic to the metallic, starts to work alongside the photographic. Indexes of surface indentation and undulation become uncannily liquid and the sea, la mer, becomes suspended in silver movement.</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 7.5pt;">* The Argonauts being the men such as Orpheus, Nestor, Laertes and Perseus who manned the Argo, built by Argus, for Jason on his famous quest.</span><span style="color: #7f7f7f; font-family: Calibri, sans-serif; font-size: 11.5pt;"><o:p></o:p></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 15px;"><i>Fragments of King opens at the <a href="http://www.devonportgallery.com/">Devonport Regional Gallery</a> on the 27th November and will be on show until 31 January 2016. </i></span></span></div>
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<i><b style="font-family: 'Times New Roman', serif; font-size: 12pt;"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">CONTACT INFO:</span></b><span style="font-family: Calibri, sans-serif; font-size: 11.5pt;"> </span></i></div>
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<i>http://marisamolin.com/fragments-of-king</i></div>
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<span style="color: black;"><i><a href="mailto:marisa_molin@hotmail.com"><span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">marisa_molin@hotmail.com</span></a><span style="font-family: Calibri, sans-serif; font-size: 11.5pt;"><o:p></o:p></span></i></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;"><i>+47 9806 5453<o:p></o:p></i></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;"><i>SKYPE: marisa_molin</i></span></div>
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<div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-22808432436582034422015-09-28T21:27:00.000-07:002015-09-28T23:28:26.831-07:00Red Racing Hood<div class="MsoNormal">
<span lang="EN-US">Red Racing Hood <o:p></o:p></span></div>
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<span lang="EN-US">Terrapin Puppet Theatre <o:p></o:p></span></div>
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<span lang="EN-US">Backspace Theatre, Hobart .<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US">September 16<sup>th</sup> 2015.<o:p></o:p></span></div>
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<span lang="EN-US">Reviewed by Gai Anderson</span></div>
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<span lang="EN-US">There was a palpable excitement in the Backspace
on Saturday afternoon as I took my seat amongst the groups of primary school
aged children and their parents for the latest show from Terrapin Puppet Theatre
- <i style="mso-bidi-font-style: normal;">Red Racing Hood</i>. Some it
seemed were back for a second time! It was great listening to the thrill in
their voices as they discussed how the complex action we were apparently about
to see, could possibly have been animated by just 3 puppeteers on the curious
retro-looking domestic set waiting in front of us.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">Written by Sean Monro and directed By Sam
Routledge, <i style="mso-bidi-font-style: normal;">Red racing Hood</i> is a
simple story writ-large, about a girl called Red and her Gran. Quite cartoon
like in feel, with miniature racetrack and a heightened performance style, it
uses the archetype of the dangerous wolf in the woods as a foreboding threat
hanging over their small country town of Grinalong. The twist is that Gran and
the young Red are racing car enthusiasts, and their lives are soon turned
upside down by the arrival of a new mayor with big ideas for the restaging of
the Grinalong Classic car race. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">Reliant on design as much as story and
character, the quirky, cleverly designed set allows the 3 talented performer/puppeteers
to inhabit and animate this action-packed show as it jumps between scales and atmospheres,
between racing action and domestic drama. And so, the domestic scene of Red and
Nans home cleverly transforms to become a miniaturized 3 D model of the town,
complete with racing track and dangerous woods. And their breadbox becomes the
garage for Nans tiny model retro racing car and the toaster becomes the town
hall. A tracking video camera and large screen allow the audience to jump
between scales, for close ups of the racing action as Red transforms to become
the driver of Grans tiny racing car.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">The performances of Maeve Mhairi McGregor as the
vivacious young Red and Thomas Pidd as the vaudevillian-like Mayor (and dorky
policemen) drive the fun and action- filled parts of the show, with their
heightened energy and clownish verve in synch with the shows cartoonish style.
The more realistic style of Grans character in contrast seemed lack lustre at
times and I wondered about this choice. The potential of the central human
drama is also less developed than the action which left the story a bit thin
for me. <o:p></o:p></span></div>
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<span lang="EN-US">But it is hard sometimes as an adult to
appreciate a child’s-eye view of theatre such as this. So as I sat there
wanting the beautifully animated wolf to be bigger and to actually scare me, the
screams of fear and delight from the front row of the children as it got closer
to them, quickly changed my opinion on that. <o:p></o:p></span></div>
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<span lang="EN-US">Overall this is a great children’s show,
perhaps perfectly pitched for a primary school audience, and the audience I sat
amongst certainly loved it.<o:p></o:p></span></div>
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<div class="blogger-post-footer">What do you think?</div>gai andersonhttp://www.blogger.com/profile/05926735623241920723noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-91763723528621660622015-09-19T02:26:00.002-07:002015-09-19T02:29:28.131-07:00Sex with Strangers reviewed by Danielle Wood<div style="color: #141823; font-size: 14px; line-height: 19px; margin-bottom: 6px;">
<span style="font-family: Arial, Helvetica, sans-serif;">Imagine the person you lost your virginity with ended up being not the one you married, but the one with whom you have an ongoing, if intermittent, affair – sometimes exhilarating, sometimes disappointing. Well, that’s how it is for me and the theatre.</span></div>
<div style="color: #141823; font-size: 14px; line-height: 19px; margin-bottom: 6px; margin-top: 6px;">
<span style="font-family: Arial, Helvetica, sans-serif;">I’m talking about real theatre, live theatre, the sort that I fell in love with as a teenager, back in that phase of life when too much was never enough. Although we’ve drifted apart, the theatre and me, still there are moments when we reconnect. We sometimes see each other here in Hobart, but not as often as I’d like. Mostly it’s when I’m off the leash and travelling that I make the effort to get in touch. Sometimes, I worry that we’ve permanently lost the magic, but then I’ll see a play good enough to set off a bunch of well-rehearsed chemical reactions in the brain and there it is: love all over again.</span></div>
<div style="color: #141823; font-size: 14px; line-height: 19px; margin-bottom: 6px; margin-top: 6px;">
<span style="font-family: Arial, Helvetica, sans-serif;">I’m guessing no-one at the Tasmanian Theatre Company knew that when they asked me along to their show Sex With Strangers, and to write something about it, the invitation was, for me, a little like getting a phone call from an old flame.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBApD6fbJX3CzIILYKu7lilgS5lC_9Gd6x0bRLDngN64HXCkzlxFA5JyF_AkcHXmF0PQ32401IXyujjI1G21WYvErkmMp-llTvrYmQoqvPlFGbDiy5w6biR9YWhMtykIVl_6h5LwiYPNke/s1600/Screen+Shot+2015-09-19+at+7.23.07+pm.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBApD6fbJX3CzIILYKu7lilgS5lC_9Gd6x0bRLDngN64HXCkzlxFA5JyF_AkcHXmF0PQ32401IXyujjI1G21WYvErkmMp-llTvrYmQoqvPlFGbDiy5w6biR9YWhMtykIVl_6h5LwiYPNke/s200/Screen+Shot+2015-09-19+at+7.23.07+pm.png" width="200" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So, Sex with Strangers. The title alone is a come-on, and it’s worked for Ethan (Samuel Johnson), who’s made the New York Times bestseller list with a blog-turned-book that chronicles the outcome of his boast that for a whole year he could, each week, pick up a girl in a bar and get her to have sex with him. Ethan’s now rich and successful, with a powerful internet reach. But his dirty secret is that even he holds the vehicle of his success in contempt, and would rather be a literary novelist, like Olivia (Tottie Goldsmith).</span></div>
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<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif;">The two come together (literally) in a rural writing retreat, far from the madding web. Olivia, older than Ethan, has been burned by the mixed reception of her first novel quite a number of years earlier. She’s spent a small fortune on therapy that’s supposed to help her not care about responses to her closely-guarded, new, novel. Her dirty secret? She craves acknowledgement, success and status.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Johnson and Goldsmith have a freshly-lit powder keg of onstage chemistry; their performances, and Laura Eason’s fantastic script, make us believe that the unlikely pair of Olivia and Ethan could indeed become lovers. Goldsmith’s Olivia has a surface of gravitas and superiority – she quite reasonably thinks Ethan is ‘a dick’. But barely beneath the skin is her incapacity to resist his genuine admiration for her writing or the tempting idea that he could deliver to her the audience she’s always craved. Johnson’s Ethan is exactly the sort of appealingly aggravating arsehole that a woman might love/hate even more just for being so irresistible.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This play has been billed as an exploration of the divide between Gen Y (Ethan, with his constant connectivity and anti-establishment chutzpah) and Gen X (Olivia, with her lingering regard both for privacy and for traditional markers of status). Those things are there, in Sex with Strangers, but they weren’t the most interesting things, for me. Director Lucy Freeman has teased all the nuances out of this play, leaving the audience bubbling with questions. Is it love when we are drawn to people who can supplement our lack? Or is the attraction only the mask for a desire to take those missing qualities for ourselves? Does announcing yourself to be an arsehole qualify you for a licence to be one? Can you be one person, and play another? Olivia and Ethan’s relationship is a fascinating, shifting web of sexual attraction, debt, gratitude and esteem. In this production, it’s framed by a luxurious, flexible set design and backed up by a seductive soundscape. Watch for the snowflakes – beautiful (sigh).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I’ve just got two little quibbles. One is that I wish the North American accents hadn’t been necessary, which it must have been decided that they were, in order to make sense of the script’s cultural, geographical and literary references. Not that the accents were terrible or especially intrusive, it’s just that I would have loved to hear Goldsmith and Johnson tell this story in their own voices. I suppose my wish might come true in an alternate reality, in which Laura Eason lives in Brisbane and writes this play in Australian.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The other quibble is with the script itself, and its refusal to show us more than the most meagre glimpse of the books encircled by this drama: Ethan’s Sex with Strangers (and its sequel) and Olivia’s two literary novels. It’s true that all we officially need to understand is that Olivia’s work is literary, Ethan’s crassly commercial. And yes, I get that we, the audience, have been invited to fill in the gaps from our own experience of these categories. Nevertheless, I wanted to click the ‘LOOK INSIDE’ tab and read a few sentences from each of the books, for myself.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But this is trivia. It was lovely to see my old flame, the beautifully produced live theatre show, looking so ravishing. I enjoyed the opportunity to admire the focus, emotion and stamina of an intense two-hander. I loved the moments of laughter, the moments of breathing shallowly through the suspense, and the moments of wry recognition.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sex with Strangers is on at the Peacock Theatre with shows tomorrow night, Friday night, Saturday afternoon and Saturday night. Really, you should go. If for no other reason than to admire how beautiful is Tottie Smith. Truly, the Newton-John-esque cheekbones alone (yes, she’s the niece of that other Olivia) are worth the ticket price. Go.</span></div>
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<span style="color: #141823; font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif; line-height: 19px;"><i>Thanks Danielle Wood for agreeing to share this wonderful review via WriteResponse. We appreciate your support.</i></span></span><div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-76878280768089066572015-09-18T23:51:00.000-07:002015-09-19T02:50:08.245-07:00SDS1 reviewed by Stephenie Cahalan<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPyczUlBKBiKLReuqSZbwFoDfhLQo-YvigOhYtkSx4oAou35Qe7qhqlFf-NNdhkoVskX0nQfkHQ8_IfJWkUggH5BZS64Yu4uODLhu_wOlJqtyrPdyDCc4FJCcO-Scw_kQckeETJUAzA/s1600/SDS1_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPyczUlBKBiKLReuqSZbwFoDfhLQo-YvigOhYtkSx4oAou35Qe7qhqlFf-NNdhkoVskX0nQfkHQ8_IfJWkUggH5BZS64Yu4uODLhu_wOlJqtyrPdyDCc4FJCcO-Scw_kQckeETJUAzA/s320/SDS1_1.jpg" width="320" /></a></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b></b><i>Creator
and performer: Ahilan Ratnamohan
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<i><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Presented by Mobile States and Salamanca Arts Centre</span></span></i></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>at Moonah Arts Centre, September 17-19, 2015 </i> </span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Watching soccer will
never be the same. Until now I have viewed the game as a fast and spontaneous
series of reactions to a ball, with opponents to dodge and goals to score.</span></span><br />
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">But after seeing Ahilan
Ratnamohan in SDS1, I will always wonder how much is attack and defence, and
how much is choreographed play. </span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Ratnamohan is a dancer
with a background in professional soccer that he has crafted into his dance performance.
The 55-minute piece was part-movement, part display of prowess that left the
audience agape at the extreme physicality of the performance; showing just how small
the gap between sport and dance is. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The exertion, skill and
precision required by the player/performer to execute the perfect move, and
most of all the stamina, is almost identical. And, done well, both players and
performers enjoy the same roar of approval from the crowd. </span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The SDS1 soundtrack matched
the pace and energy of the movement, articulating the mounting heartbeat and
Ratnamohan’s gasping breathing which also became part of the soundscape of the
piece. ‘Quarter time’, where Ratnamohan sucked back air and water, invited the
audience to the sidelines of the game and to the intimate space of the player
as he regrouped, taped up pains and strains and swiped away the litres of sweat
pouring off his body. It was all there and it was really great insight into the
very private physical world of a person who employs their body at an elite
level and expects it to perform to the extreme.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">A defining part of the
success of this show was the engagement of Ratnamohan with the crowd. Unlike so
much contemporary dance that is necessarily removed from the audience,
bordering on introspection, this player/performer connected with every audience
member – at times psyching us out like a challenging opponent, sometimes
greeting the crowd like the victorious goal kicker soaking up adulation. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The new Moonah Arts
Centre is a great venue for this kind of performance piece; intimate but
generous, with plenty of space for ‘the game’ to play out. The crowd was an
assembly of curious adults and young soccer players, all incredibly impressed
by the endurance and ball skills Ratnamohan showed off. My son and his mates
counted the number of headers and juggles, breathing ‘64’ or ‘58’ in awe each
time. </span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">This show is original, utterly
engaging and a really neat introduction to contemporary dance for a young
audience who might otherwise find it a bit obscure and remote. I hope it comes
back to Hobart and the word goes out on every junior soccer mailing list in the state so that all those players and onlookers could get a look at look at soccer from a different angle.</span></span></div>
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</span></span><div class="blogger-post-footer">What do you think?</div>Stephenie Cahalanhttp://www.blogger.com/profile/02311457559345933832noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-80560064703867449882015-08-25T18:58:00.003-07:002015-08-25T20:14:40.512-07:00Your Book Reviews...<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;"><b>Do you have a favourite book? </b></span><br />
<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;"><b><br /></b></span>
<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;">Well now is your chance to tell everyone about it. Give us a book review in less than 500 words; include title, author, basic story line & why you love it. </span><br />
<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhud8R7EYOg0cyVXgsrht_bGP4J0l6DrJ0UXBVZdIHCj9gNwxah2d02r7pdaf0LFm3EH-P_P-nBuZFjx0_mMeXs3nwBS0dPrrgfgAt8sgZH9nNXDyy5rOeeuEybP7rFcMidtmXU_g1ZDG0w/s1600/TWRFest.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhud8R7EYOg0cyVXgsrht_bGP4J0l6DrJ0UXBVZdIHCj9gNwxah2d02r7pdaf0LFm3EH-P_P-nBuZFjx0_mMeXs3nwBS0dPrrgfgAt8sgZH9nNXDyy5rOeeuEybP7rFcMidtmXU_g1ZDG0w/s200/TWRFest.jpg" width="150" /></a></div>
<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;">To coincide with the <a href="http://www.taswriters.org/">Tasmanian Writers & Readers Festival </a>at Hadley's Orient Hotel Sept 11-13th, the best book reviews will receive $25 vouchers from a Tasmanian book shop. </span><br />
<span style="background-color: cyan; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;"><br /></span>
<b style="background-color: orange;"><span style="color: #141823; font-family: helvetica, arial, sans-serif;"><span style="line-height: 19px;">Send your Book Reviews to...</span></span></b><br />
<b style="background-color: orange;"><span style="color: #141823; font-family: helvetica, arial, sans-serif;"><span style="line-height: 19px;"><br /></span></span></b><span style="color: #141823; font-family: helvetica, arial, sans-serif;"><span style="background-color: orange; line-height: 19px;"><b>kylieeastley@gmail.com</b></span></span><div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-51550870082914982382015-08-25T18:18:00.001-07:002015-08-25T18:18:41.373-07:00(One of) My favourite books...It is tough to say exactly what is my favourite book. But definitely <i><b>The Bear Went over the Mountain </b></i>by William Kotzwinkle is teetering on the top.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMrRgjjRNZXgxHo2Bsal-T6BjMgX9FdvlCPU4LhPrigAgJsm-Krr7LxWGAYbAAaodW21qyBzIi7YZKXYteP5xgc_EADjNALTeNgLu9OSXU0w54V1nv-oeBPQrvcTt_-yvfjR5CknnZNJpc/s1600/Kotzwinkle.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMrRgjjRNZXgxHo2Bsal-T6BjMgX9FdvlCPU4LhPrigAgJsm-Krr7LxWGAYbAAaodW21qyBzIi7YZKXYteP5xgc_EADjNALTeNgLu9OSXU0w54V1nv-oeBPQrvcTt_-yvfjR5CknnZNJpc/s200/Kotzwinkle.jpg" width="150" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBWleNvGdejggs5jQeS-gNfPdby520t4YifKDGtYRx7-p62sW1fXgGq4h4uUBEsAH8l0oOWeDp93vS9ovs10Pp5uSpds7gzdH1GQ6jXrUFT3jULjj0313ypibvjE9W6HXcdY1l3S8pyS8L/s1600/Screen+Shot+2015-08-26+at+11.06.10+am.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBWleNvGdejggs5jQeS-gNfPdby520t4YifKDGtYRx7-p62sW1fXgGq4h4uUBEsAH8l0oOWeDp93vS9ovs10Pp5uSpds7gzdH1GQ6jXrUFT3jULjj0313ypibvjE9W6HXcdY1l3S8pyS8L/s200/Screen+Shot+2015-08-26+at+11.06.10+am.png" width="128" /></a>This is a funny, ridiculous but believable story about a writer who buries his second version of a book in a forest, after a house fire destroys the first original manuscript. As he drives into town to celebrate, a hungry bear sniffs out the suitcase full of pages and upon determining its potential value wanders off towards the city to buy a suit.<br />
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This is a story about the superficial world of publishing and the wisdom of a simple but hungry bear.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8oslZMhnnf00pb43zZYH7IRwLCnPN6NdqoMhiCh_hbv031EKYWvqnJd1kA3SmlG8a6CkUyYrx_lqZ1IYvpDaBK2woifxd9xi5xU6-pRsrhtWnvt4CRxtoArG8TvJ34kFzAkcOH0QZyqS/s1600/Screen+Shot+2015-08-26+at+11.08.26+am.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8oslZMhnnf00pb43zZYH7IRwLCnPN6NdqoMhiCh_hbv031EKYWvqnJd1kA3SmlG8a6CkUyYrx_lqZ1IYvpDaBK2woifxd9xi5xU6-pRsrhtWnvt4CRxtoArG8TvJ34kFzAkcOH0QZyqS/s200/Screen+Shot+2015-08-26+at+11.08.26+am.png" width="200" /></a>William Kotzwinkle is a relatively unknown author, even though he was responsible for writing ET and a range of other well known book. I also liked <i>Fata Morgana</i> and Dr Rat; although <i>Dr Rat </i>is pretty confronting in it's depiction of animal testing.<br />
In recent years he has written for children with the infamous...<i>Walter the Farting Dog. </i><div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-45362011508434844592015-05-28T20:47:00.001-07:002015-08-25T20:05:44.013-07:00Grounded by George Brant<div class="MsoNormal" style="mso-outline-level: 1; text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12pt; line-height: 150%; text-indent: 0cm;">Blue Cow Theatre
Inc</span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Directed by
Annette Downs, starring Jane Longhurst<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<br /></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Review by Anica
Boulanger-Mashberg<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<br /></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Technology may
have changed the methods of war yet perhaps not, Brant suggests, the human experience
of it.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;"><o:p> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOj7JLZbifQMp_7cHDg3aaBTY3Sg-re8i_407MMa2Woz3_NF36p5m4xxCG-Z6Hlti-OUmbejgGV7f4V-F_diicERjqH483gdvE6sN5xuc99O6rn_xeyd8jqHRYITLZ0JvzCaXOZSovrfg/s1600/Screen+Shot+2015-05-29+at+1.45.15+pm.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOj7JLZbifQMp_7cHDg3aaBTY3Sg-re8i_407MMa2Woz3_NF36p5m4xxCG-Z6Hlti-OUmbejgGV7f4V-F_diicERjqH483gdvE6sN5xuc99O6rn_xeyd8jqHRYITLZ0JvzCaXOZSovrfg/s320/Screen+Shot+2015-05-29+at+1.45.15+pm.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image from Blue Cow Theatre Inc Website</td></tr>
</tbody></table>
</o:p></span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">‘Grounded’ after
briefly favouring love and family over her military career, the Pilot (Jane
Longhurst) returns to work where instead of guiding her craft in the great
‘blue’ of which she still dreams, she finds herself dropping her daughter at
daycare and reluctantly driving across the desert to the strange daily mundanity
that is war at a distance. Now a drone pilot, she fights and kills remotely,
but she suffers and struggles here and now. Her actions might be distant but
the trauma of them is very present.<o:p></o:p></span></div>
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<br />
<a name='more'></a></div>
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<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Without forcing
the issue, the play asks what constitutes reality in a world of drones and
screens and surveillance. For the Pilot, reality is her husband Eric and
daughter Sam, and yet they are also the distraction from what she feels is her
calling. Longhurst handles the tension gently and honestly: a soldier, wife and
mother, and in between, a strong yet lost human. Soft moments of love are a ‘grounding’
of a different kind and the surprising glow of her relationship with Eric seeps
through even the most predictable aspects of her tough fighter-pilot-exterior.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<br /></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">For me the
production is at its most rewarding as war takes its toll and the inevitable cracks
in the Pilot’s bold confidence begin to undermine her stability; the
progression of her story is unsurprising yet still acutely affecting, and maybe
all the more so for the humdrum exposition of the first half of the script
(which manages to feel both too slow and too fast: rushing us through the
Pilot’s recent years yet lacking in texture and contrast).<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<br /></div>
<br />
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">The quietly
stark efficiency of Annette Downs and Robert Jarman’s set, Andrew Macdonald’s
lighting, and Heath Brown’s soundscape follows Downs’ steady interpretation of
Brant’s script: no energy is wasted with unnecessary decorative edges, while
complete energy is dedicated to focus on the Pilot’s inner world, outer world
and – most interestingly – where the two merge. Longhurst is shiningly assured
in her performance and sensitively traverses the psychological terrain, easily
carrying the intensity of the solo work. I do wish there was a little more
depth for her to work with in places: the script made it too easy to skate across
the story, leaving some of the crisis points a little too exposed.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<br /></div>
<div class="MsoNormal" style="text-indent: 0cm;">
<span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">While I felt I
waited too long for the story to begin – what is this woman <i style="mso-bidi-font-style: normal;">feeling</i>, and when will we see what’s
really going on for her? – its later developments overcame this, making the
evening more than worthwhile.<o:p></o:p></span></div>
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="text-indent: 0cm;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;">Grounded</span></i><span style="font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-family: Arial;"> is presented by <a href="http://bluecowtheatre.com/">Blue Cow TheatreInc</a> and has a season at the Theatre Royal Backspace (<span style="mso-bidi-font-weight: bold;">28 May – 6 June 2015 at 8pm) as well as at the new Moonah Arts Centre (12
& 13 June 2015 at 8pm).</span> <o:p></o:p></span></div>
<div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-9786522166642004022015-02-08T18:25:00.006-08:002015-02-08T18:36:08.884-08:00Sawtooth Ari Writing Prize...A number of writers submitted reviews, poetry and prose as part of Sawtooth's inaugural writing prize.<br />
<div>
It was fantastic to be one of the three judges. Read all about it at the <a href="https://soundcloud.com/936-abc-hobart/portraits-of-the-sea-see-robert-hannaford-in-hobart">Sawtooth Ari site.</a></div>
<div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-82620302124935332052014-12-02T13:19:00.001-08:002015-08-25T20:06:04.977-07:00Ode to Tom<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">Thomas Connelly was a passionate writer, poet and
contributor to the Tasmanian community and the arts. As part of a new <a href="https://open.abc.net.au/explore/82229">ABC Open initiative</a> I was invited to write a little about Tom, who died unexpectedly in
October 2014. Tom had many writing projects on the go and we will miss his wit,
his poetry and his passion.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS";"><b>Thomas
Connelly</b><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Q6Q9GXv7PNQXBOg_LNSJSMF03lRC4I78YJBZ0baOe0UDBVeHtuFWh40U0pvBST4tS42-9vfdryT1hKuzkGEn3aG2-YMNRYK7rjtpuVm3ao1XAKclINFh3QyJgmH41KjeZ02NOTVtr7hj/s1600/IMG_1024.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Q6Q9GXv7PNQXBOg_LNSJSMF03lRC4I78YJBZ0baOe0UDBVeHtuFWh40U0pvBST4tS42-9vfdryT1hKuzkGEn3aG2-YMNRYK7rjtpuVm3ao1XAKclINFh3QyJgmH41KjeZ02NOTVtr7hj/s1600/IMG_1024.jpg" width="150" /></a></div>
<br />
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS";">This is
a photo of Thomas Connelly. To me he was just Tom, a big gentle beardy man who
loved Greek mythology. We had just been to an exhibition opening and it was a
cool Hobart evening as we sat outside, drinking coffee and talking of art and
life.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS";">Thomas
Connelly was a beautiful writer, philosopher and friend who came into my life
only a few years ago but whom I thought would be around until we were both
older and more wrinkled. As a fellow writer we shared are stories and thoughts.
And now as I sit at my keyboard to write, I automatically think of him as my
editor and mentor. I edited his complex, tangled words as he reviewed Tasmanian
exhibitions and shows and we discussed the challenges of being an artist;
living a creative life.<o:p></o:p></span></div>
<div class="MsoNormal">
<br />
<a name='more'></a></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS";">Tom could
wrap a tale of Persephone around the dicing of a carrot. He questioned and
laughed and spoke of lands and myths that I never knew. <span style="mso-spacerun: yes;"> </span>He was </span><span style="font-family: 'Trebuchet MS';">a
scholar who loved to learn, to listen, to share his ideas, and he was a
committed supporter of the arts.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS";">Tom had
developed a following as he spoke his poetry at groovy cafes; poetry that highlighted
the inequality of society and questioned authority. He would speak words that
could cut delicately into a heart and leave a beautiful thin line of reason and
passion and just enough anarchy. He was brave. He didn’t censor his writing or
his convictions, but drove forth just like one of his wonderful Greek
champions.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS";">I will
miss you so much Tom, but will always think of you as I write.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Trebuchet MS";">by Kylie Eastley</span></div>
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<div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-67137033002879572532014-12-02T13:05:00.001-08:002015-08-25T20:06:16.804-07:00Who's Afraid of Virginia Woolf?<!--[if gte mso 9]><xml>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">by Stephenie Cahalan</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Tasmanian Theatre Company</span></b><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Director, Sue Benner and Assistant
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<b><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">Featuring Rowan Harris, Karissa Lane, Jane
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<br /></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">With cars left behind in the safety of a Sandy Bay
car park, we boarded a minibus and rode through the streets of Hobart’s
well-appointed middle class into another era. The bus exited the kerbed bitumen
and climbed a winding dirt track to reach an architectural icon. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Fort Nelson House is a rounded, glass
eyrie that describes its owner and designer Esmond Dorney as craving both
openness <i>and</i> seclusion. The dwelling, which evolved over several
iterations between 1966 and 1978, is surrounded by 78 acres of native bush
overlooking the Tasman Peninsula, Bruny Island and the Meehan Range. The house
and property, now owned and managed by the Hobart City Council, is rarely open
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<a name='more'></a></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Yet, for a few weeks in November, Fort
Nelson House became the venue for the 1960s classic drama <i>Who’s Afraid of
Virginia Woolf?</i>, staged by the Tasmanian Theatre Co.The effect of entering
the home was not just that of arriving at a venue, with all the marvelous
pre-show anticipation that live theatre invokes. It gave the feeling of being
locked into the dramatic space… and like hiding behind the curtains at a
surprise party before the subject arrives. As two more busloads of patrons were
delivered, the atmosphere built into a palpable air of apprehension.</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-JofGvP8Gu343EO3ZMdTpwnk3bLKVOBj1ewXtmPd4FrS7ac79BoiAikqIGq19ICE9teYtyf1iP2UbQ1dwK_cqBmweHhXc2tQ5n5FEoUjw_ml-cnjZwT4i0gDo6voVtGI__xrd4K6b_wOg/s1600/Screen+Shot+2014-12-03+at+7.59.52+am.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-JofGvP8Gu343EO3ZMdTpwnk3bLKVOBj1ewXtmPd4FrS7ac79BoiAikqIGq19ICE9teYtyf1iP2UbQ1dwK_cqBmweHhXc2tQ5n5FEoUjw_ml-cnjZwT4i0gDo6voVtGI__xrd4K6b_wOg/s1600/Screen+Shot+2014-12-03+at+7.59.52+am.png" width="219" /></a></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">The stage — the living room — was a stylish,
circular sunken floor facing the metre-wide tiled fireplace; a tribute to a
time when design ruled, and council compliance was but a spectre looming in the
future. The audience mingled around the multilevel shag-pile carpeted steps,
exposed flue and the vinyl-clad cushions rimming what would become the
conversation pit of despair.<o:p></o:p></span></div>
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<br /></div>
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<i><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Who’s afraid of Virginia Woolf</span></i><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">?
by Edward Albee concerns two couples at distinctly different stages in life.
George and Martha have traveled quite some way down the road of disappointment,
their relationship curdled and neither partner’s career or family dreams
realised. Nick and Honey are young and ambitious, beholden to the prescription
for success in a small-town college. The drama is set very late at night in a
booze-sodden living room.</span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">I studied the play in high school and Albee’s
skilled manipulation of language and tension was clear even to this
17-year-old, inducing the same feeling of dread prompted by the cheesy horror
films that were preferred viewing at the time. The opportunity to watch the
play as an adult, for whom the concept of relationships and unrealised
expectation now has more resonance, was a rare treat.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">Fort Nelson House has been unoccupied for several
years, offering a blank canvas for designer Paul Rubie and stage manager Max
Ford. House and stage blended seamlessly, and we in the small audience became
voyeurs peering into an acutely uncomfortable domestic scene. The attention to
detail invoked the era impeccably, without crowding out essential elements,
such as the all-important drinks trolley. Martha’s grand entrance was made even
more formidable by her fabulous satin, burnt orange dress. The hair
complemented the costuming beautifully. Martha and Honey’s stylish coifs
declined to ragged mops throughout the course of the play.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">This well-set scene placed even more
expectation on the performers to live up to the venue and staging, and each
actor rose to that challenge magnificently. Jane Longhurst as Martha was so
glamorous and outrageously awful, it was hard not to cover the eyes. The
bullying seductiveness of Martha was powerfully met by Jeff Michel’s sneakily
vicious portrayal of George. This was critical to the success of the play, if
we were to be at all convinced by the credibility of their brutal partnership.</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">Honey and Nick’s submissiveness were reminiscent of
small prey being hypnotised by a snake. Most of the adult nuances sailed over
my head as a teenage reader, but one thing that I did remember grasping was how
the younger, impressionable couple could not extract themselves from the
manipulation of the older, more experienced pair. Karissa Lane’s portrayal of
Honey was comic and original, providing desperately needed light relief. Rowan
Harris conjured the barely-disguised vanity and ambition behind Nick’s
seemingly ‘regular guy’ guise. All four performers arrived at the finish line
of the grueling emotional marathon looking cool and solid.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: Times;">So effective was the performance that taking the
bus back down the hill to reality was a bit like gratefully catching a ride out
of a bad party. The play is not to everyone’s taste, described by one
fellow patron as ‘a bit overwrought’. Yet for me, that performance of that play
in that place left me feeling like I had just seen something really very
special.</span><span lang="EN-US" style="font-family: "Trebuchet MS";"><o:p></o:p></span></div>
<!--EndFragment--><div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-75301423850109115552014-10-16T01:03:00.001-07:002015-08-25T20:06:29.869-07:00Capturing the Self - Josie Birchall<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdBPMiyIyX2WaDj5EG5RXa-wZFGbyNt9hJUDbZv-JLvx4-f6qcF2Py47n-Nu-HPdjsh6dL6-SO7SnufHTMoMABLP7xBcXWv9yonnqWGHHJuRc1MvG0jMaiw7IRcv0hHAQqSheHqHE5eAke/s1600/Screen+Shot+2014-10-16+at+5.31.37+pm.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdBPMiyIyX2WaDj5EG5RXa-wZFGbyNt9hJUDbZv-JLvx4-f6qcF2Py47n-Nu-HPdjsh6dL6-SO7SnufHTMoMABLP7xBcXWv9yonnqWGHHJuRc1MvG0jMaiw7IRcv0hHAQqSheHqHE5eAke/s1600/Screen+Shot+2014-10-16+at+5.31.37+pm.png" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Family Portrait</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Review by Kylie Eastley</span><br />
<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">Josie Birchall is a Tasmanian artist who is
standing out from the usual suspects. </span>She began as a graphic designer, before
attending TAFE to develop her skills in painting and drawing and then went onto
the School of Art. Her layering of life experience and commitment to her craft
has enabled this artist to fully realise her narratives.</span></div>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It is what Birchall leaves out of her
painting, and chooses to include that is so alluring. In <i style="mso-bidi-font-style: normal;">Family Portrait</i> (Pictured), the inclusion of the iconic Bambi,
Donald Duck, the plastic pink flamingo and the cu pi doll, all represent various
eras that each of us can relate to. Birchall cleverly paints herself as two
figures; split with the use of random brushstrokes as reference to her pulled-apart
self. She includes simple child-like doodling that clash with the beautifully
executed and realistic painted figures. </span></div>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"></span><br />
<a name='more'></a></div>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">There is nothing random about these
works. They are considered and intentional. And with this combination of the
familiar, nostalgic and disturbing, she draws the viewer in and repels at the
same time. While the works are full of visually rich images, she manages not to
overcrowd the paintings; leaving room for us to ruminate on her choice of
quirky, pop culture references and to wonder at our own reaction to them.</span></div>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">‘My aim is to create a sense of intrigue or
questioning, or to evoke feelings of confusion or fun within the viewer; I
enjoy pushing the boundaries with subject matter of my paintings and I am never
content to leave a portrait as a simple presentation, rather I will take it
further into the confusing and surreal world of imagination.</span></i><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">’<span style="mso-spacerun: yes;"> </span><a href="http://www.gallerysalamanca.com.au/index.php/fine-art/josie-birchall">Gallery Salamanca website</a><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><br /></span>
</span><br />
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Much of Birchall’s work is exploring
identity; both her own and women in general. There are a series of wonderful photographs
of women dressed in 1950’s dresses, or naked, posing in classic retro settings;
by an old shack, on the beach, in the bath and at the kitchen sink. Nothing
extraordinary so far, I hear you say, except that they are all wearing masks
that cover the entire head. They have no identity; their faces and selves obscured completely by the latex chicken,
pig or horse heads that encase them; claustrophobic, humorous and hideous.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">There is something appealing and revolting
about these photographs that are familiar domestic scenes, evoking an extreme
sense of nostalgia and horror at the lack of the person. These are
exceptionally staged photos with everything there for a reason and they work
beautifully. She manages to capture us in this in-between space. </span></div>
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<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7rsR3l0Jj9zIk9aBQ8GNGb3Zv0H3AJfMR3JUGp7AvWhoscQCLK6W3m5yk36mq5VK4ta2-YALtZzCO3AEfuYOaKE84q6Hf4TP_fVfFqoM3GzS81BiPS24rDhhIFq6qxMGfy4tYMSZx9p0/s1600/Screen+Shot+2014-10-16+at+6.47.52+pm.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7rsR3l0Jj9zIk9aBQ8GNGb3Zv0H3AJfMR3JUGp7AvWhoscQCLK6W3m5yk36mq5VK4ta2-YALtZzCO3AEfuYOaKE84q6Hf4TP_fVfFqoM3GzS81BiPS24rDhhIFq6qxMGfy4tYMSZx9p0/s1600/Screen+Shot+2014-10-16+at+6.47.52+pm.png" width="177" /></span></a></div>
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</div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><o:p></o:p><br /></span>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I must admit to finding appeal with this mix of memory, cutesy and something a little edgier and there are plenty of examples of artists who have been working in this style, such as <a href="http://www.markryden.com/">Mark Ryden</a>s' <i>Rosie's Tea Party</i> (2005) or Tara McPherson's <i>The Love Space Gives is as Deep as the Oceans</i>, 2010</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxPRK1SwnfwqJWC-J_wWWSj_HgF1A1VIQTYK6-bg8-MBRhEhhJr3ZFE8tP5DmANNSfWyC6b0jQfSCA8re5zizFGesVNIsLIP6d4dHu90Plmlhykgmxz5kOMihYxa66-7mtbFEXqpZdgwcy/s1600/Screen+Shot+2014-10-16+at+6.57.55+pm.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxPRK1SwnfwqJWC-J_wWWSj_HgF1A1VIQTYK6-bg8-MBRhEhhJr3ZFE8tP5DmANNSfWyC6b0jQfSCA8re5zizFGesVNIsLIP6d4dHu90Plmlhykgmxz5kOMihYxa66-7mtbFEXqpZdgwcy/s1600/Screen+Shot+2014-10-16+at+6.57.55+pm.png" width="195" /></span></a><span lang="EN-US" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><o:p> </o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Josie Birchall's paintings and photographs are currently on
view at Gallery Salamanca, Hobart. I would encourage viewing and look forward
to Birchalls’ new body of work.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">Josie's work can also be seen on her Facebook page...</span><span style="background-color: white; color: #141823; font-weight: bold; line-height: 18px; text-indent: 2px; white-space: nowrap;"><a href="https://www.facebook.com/josie.allyson.birchall.artist">Josie Allyson Birchall - Artist</a></span></span></div>
<div class="blogger-post-footer">What do you think?</div>Kylie Eastleyhttp://www.blogger.com/profile/02581751789526369154noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-11711495537116109472014-10-06T15:24:00.000-07:002015-08-25T20:20:03.586-07:00Dole / Dolour: An Allegory for the Fifth Corner of the Worldby Thomas Connelly<br />
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<b>σκότος ἐγένετο ἐπὶ πᾶσαν τὴν γῆν</b>
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In the evening <br />
after work, <br />
shadows fall <br />
across the world. <br />
And the city quiets <br />
And calms itself. <br />
And now the city is ours <br />
The weak and broken ones <br />
Come out to play <br />
Take over the city. <br />
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Went to the Top Gallery in the Salamanca Arts Centre, a small room torn brick, convict sandstone, rough wood. A room that echoes the cries of those worked to death in the old days. Drunk and trapped. The scrap heap. Dolour -- endless unhappiness. This seemed an more than suitable place for these particular art works.<br />
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<a name='more'></a>I went, as an invite to see an exhibit of photographs by Liam James passed across my facebook feed. The exhibit was called<b> “Dole / Dolour: An Allegory for the Fifth Corner of the World.”</b> I was instantly intrigued by the title, and normally I do not like photography as art. This is simply my hang-up and I apologise to photographers the world over. For me too often it is simple point and click, a mechanical reproduction of an object, allowing no understanding of the maker, of the ideas behind the work.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbrKD8GoL2OZkjUt3XsN8zhvxlEvuwz6srbprFDeExyVaRkJ7Mk5O55WZgv0VPFoIkgwC1EEQJ__W8Lz3cQ-ywR2OCO_2nFoCR_HOZuvvwNTuhupR1PUTqvLU2ByxhorqOW5YyHfPnNZ3o/s1600/dole.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbrKD8GoL2OZkjUt3XsN8zhvxlEvuwz6srbprFDeExyVaRkJ7Mk5O55WZgv0VPFoIkgwC1EEQJ__W8Lz3cQ-ywR2OCO_2nFoCR_HOZuvvwNTuhupR1PUTqvLU2ByxhorqOW5YyHfPnNZ3o/s320/dole.jpg" /></a></div>
With this exhibit more was involved. Not simple happy snapping, not facile photoshopping. The photographs were all well thought out and the artist seemed to have something to say, and to know what that was.
These are the photographers of a maker, rather than a reporter, or a decorator.
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Don’t be told what you want don’t be told what you need <br />
There’s no future no future no future for you <br />
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Dole / Dolour, sorrow, emptiness, no future for you. There is a time, about the age of twenty five, when many us, (those of us that think and do not just follow) come to the conclusion that all the word worlds of teachers and parents -- that one can be what you want, that is just takes perseverance and commitment -- were no more than big fat lies.
Work will not save us, love will not save us, our future dream is a shopping scheme.
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A future rolling forward of endless cycles of waking up, coffee, work, lunch, work, Friday nights drinks down the local, all leading to the goal of self imposed debt bondage. Marriage, house, children. And finally pointless, stupid, inexorable death.
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Liam faces this future squarely, without flinching. His wonderful, well staged, well coloured, crafted photos bring these feelings of relentless boredom, of pointlessness to our gaze. His works shows how all this drabness is wrapped up with a system of objectification. And how it is that many of us desire, more than anything, our own slavery, fighting as passionately for slavery as for liberation.
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The subjects of his photos are mostly young men and women, and they avert their eyes from the gaze of the (assuredly elder, assuredly judgmental) viewers, looking up, down or off in the distance. Looking one thousand yards past the viewers into a doleful future.
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When the subjects do look at the viewer, it is with irritation, with anger.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMY5OMLE91LMMsUs4LdFrnRiHKuKeQHh-euJdbmdOJpQzUuRSKQu_cFBCumCxBo18lhgCmeonQkaaeHgl3WeUptUQMr-3IWD8JrDvxovQ9l-qyR5KdZy7hwUPtVhTmUtZJILSw7m7BJf4c/s1600/bed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMY5OMLE91LMMsUs4LdFrnRiHKuKeQHh-euJdbmdOJpQzUuRSKQu_cFBCumCxBo18lhgCmeonQkaaeHgl3WeUptUQMr-3IWD8JrDvxovQ9l-qyR5KdZy7hwUPtVhTmUtZJILSw7m7BJf4c/s320/bed.jpg" /></a></div>
The artist, in his statement, wants to search for a new national identity, this is an important goal, as all around a reinvigorated national identity of spite and fear rises. This triumphalism gives birth to, and counters the art works, sets the scene, frames the works, and holds us in it's embrace as we step outside the gallery, back into a world of objects, processes, statistics, and prices.
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This is an interesting and provocative exhibit. An exhibit which on first glance appears simple, but over the days and nights will slowly chew into your brain and make you question the world of objects.
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Dole / Dolour: An Allegory for the Fifth Corner of the World is on display until the end of the month, until 30 October. You can visit a web site that <a href="http://liamjamesartist.tumblr.com/">Liam James</a> maintains.
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<div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-41328423409945927392014-09-22T23:52:00.001-07:002015-08-25T20:20:45.205-07:00RACT Insurance Tasmanian Portraiture Prizeby Thomas Connelly<br />
<br />
I went to the RACT Insurance Tasmanian Portraiture Prize award
night. This competition is the result of a highly successful
partnership between RACT Insurance, Clemenger Tasmania and
<a href="http://www.tasregionalarts.org.au/typppage/">Tasmanian Regional Arts</a>. Looking at the variety of works on
display, one can safely say that the future of portraiture is
safe in Tasmania. This exhibit is more vibrant and daring than
similar prizes.
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<br />
This award takes a different path than most portraiture award. A
few things stand out to make this award unique. Quoting the
<a href="http://www.taspp.com.au/">Conditions of Entry</a>, “The submitted work must be a titled
portrait of a living Tasmanian.” This has the effect of making
the prize a local prize. This can be both good and bad. Good in
that it supports local artists, who due to the nature of the
world tend to get swamped by the sheer size of the north island.
Bad in that it feeds on an isolating tendency. What you wish to
give weight to is, of course, up to you; but for me I would
support the idea of a prize that seeks to support and nurture
local artists. As we live in a world based on the idea that big
eats little, sometimes little needs a helping hand. How else can
little mature and start devouring.
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<a name='more'></a><br />
Due to the nature of portraiture it often behaves as a sort of
aorist medium; an exploration of the past, the contemplation and
mulling over of a life, of past achievements. To overcome this
tendency the RACT Insurance Tasmanian Portraiture Prize
conditions stipulate that the artist must be under thirty. As
youth are inherently forward looking, this stipulation is
fabulous, in that it provokes a disruptive alchemy. A work like
this year's winner would not be allowed in the Archibald Prize,
due to the condition that the painting, “Must be a portrait
painted from life, with the subject known to the artist, aware of
the artist’s intention and having at least one live sitting with
the artist.”
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A third aspect that to me makes the prize unique is the emphasis
on submitting a short (300 word) artist statement, describing the
reasons the portrait subject was chosen. This statement is an
important part of the process, as it helps determine the
intention of the artist, and if the finished work has
accomplished that intention. It allows us to understand the
inspirations that flow around and artist, and their works.
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There is no point in trying to describe all the paintings in an
exhibit of over thirty works. I will only mention the works that
won awards on the night.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbaNG_BcU_KJYldkb-YbZ7m93huk1cRB6cKlrPzIzanV2gN6q03KoujDeZTGblmOQUgW9aktBMqHtpjAv8X1HliYRZouS1T3LIxXAPMnUGL1woSBb0jLMyh1hv35noK-pXzZfB86JkIE2L/s1600/jesse-hunniford.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbaNG_BcU_KJYldkb-YbZ7m93huk1cRB6cKlrPzIzanV2gN6q03KoujDeZTGblmOQUgW9aktBMqHtpjAv8X1HliYRZouS1T3LIxXAPMnUGL1woSBb0jLMyh1hv35noK-pXzZfB86JkIE2L/s320/jesse-hunniford.jpg" /></a></div>
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Jesse Hunniford won the inaugural Packer's Prize for the work “Am
I a Man or a Puppet?” This work, described in the statement as “a
visual and physical journey into childhood and paternity through
textiles and the act of making”, is an example of how the artist
statement and the work -- a photograph of a hand puppet --
combine to create a new form of portrait. It is also important to
note that a work such as this may have not been allowed in many
other Portraiture Prize competitions.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhGKA5gWTi_pII6hngi_U1qob79J7e65ieVDHuHt9TJN_e8MmG6MQHl81p4m1rn21ZZyY3mctYoPFO_2Gvmi-w-Pl_RYiuMInHCj06m7hYzFWo6KENstcAka-f1PYKXzKj5z3m6xBiNes/s1600/RACTTilly_Clough_-_Dad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhGKA5gWTi_pII6hngi_U1qob79J7e65ieVDHuHt9TJN_e8MmG6MQHl81p4m1rn21ZZyY3mctYoPFO_2Gvmi-w-Pl_RYiuMInHCj06m7hYzFWo6KENstcAka-f1PYKXzKj5z3m6xBiNes/s320/RACTTilly_Clough_-_Dad.jpg" /></a></div>
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The Sponsors Choice award went to Tilly Cough of West Launceston
for the work “Dad.” A beautifully rendered pastel drawing of the
artist's father. A work that seeks, -- here I am paraphrasing
from her statement -- and succeeds in finding the flaws and
roughness of her subjects, the imperfections that make them
perfect.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUj5hFTqgI7ddBZwM-aQ4YVJWW226W5EU_HEQ7aRBwviSi6mrmEdSudBmwmyM6PiC49tY81OEx4PsCTwrO17tWCiX7Fk3nvjk-Na1RdCbLQI7OOEcvn31796qoWYxPeHdx3xYQxzvV6GF/s1600/RACTShannon_Terry_A_small_idol_of_mine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUj5hFTqgI7ddBZwM-aQ4YVJWW226W5EU_HEQ7aRBwviSi6mrmEdSudBmwmyM6PiC49tY81OEx4PsCTwrO17tWCiX7Fk3nvjk-Na1RdCbLQI7OOEcvn31796qoWYxPeHdx3xYQxzvV6GF/s320/RACTShannon_Terry_A_small_idol_of_mine.jpg" /></a></div>
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The 2014 runner-up prize was awarded to Shannon Terry from South
Hobart, for her work “A small idol of mine.” A pencil drawing of
her cousin Sarah. Shannon said, “The lens in which she views the
world is one of which I admire immensely. She holds strong views
in politics. Symbolically, the grey I create serves to remind us
that there is neither a black nor white perspective in life”
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The winning work this year was by Cameron McRae, of Hobart, with
a work he called “<a href="https://en.wikipedia.org/wiki/David_Foster_(woodchopper)">David Foster</a> enters the Burnie Betta Milk
Wearable Paper Art Prize.” This was a cheeky, satirical, amusing
look at recent events in Tasmanian political history through the
medium of portraiture. Again, this sort of work would not be
allowed in some other competitions. Which makes one wonder if a
trip to next year's Archibald Awards is actually a good thing or
not.
The paintings will be on display in Hobart at the Long Gallery
until the 5th of October. It will then travel to the Sawtooth
Gallery in Launceston, from Friday 31 October until Saturday 22
November. Finsihing the tour at the Burnie Regional Art Gallery,
in Burnie from Friday 12 December until Saturday 31 January. This
exhibit of young Tasmanian talent is definitely worth a look!
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One could argue that the last 20 years of history have been an
attempt to destroy our spirit of co-operation, our spirit of
optimism. The youthful, daring, amusing, satirical, experimental
nature of the works on display prize can act as an antidote, a
pharmakon, a charm, to protect what can be protected from this
world-historical fear.
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I will leave the last word to the winner, “I said that if I win I
would be able to insure my car, so this a win all around.”
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I want to thank my pal <a href="http://milkwood.net/2011/08/01/yeomans-and-the-art-affair/">Ian Milliss</a> for helping me to clarify
my thoughts (like turning butter into ghee)
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To see some other media related to this exhibit: <a href="http://tasmaniantimes.com/index.php?/weblog/arts/2014-ract-insurance-portraiture-prize-winner-announced-/">Tasmanian Times</a>, The <a href="http://www.themercury.com.au/news/tasmania/ract-portraiture-prize-reveals-states-artistic-talent-pool/story-fnj4f7k1-1227064622218">Hobart Mercury</a> non-story, and an amusing example of victorian prudeity from <a href="http://www.theadvocate.com.au/story/2572958/top-gong-for-nude-portrait-of-david/?cs=4169">The Advocate. </a>
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The photographs of the art works come from the <a href="http://www.taspp.com.au/">TPP</a> website. <br />
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<br /><div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-34138683963085350232014-09-13T15:53:00.000-07:002015-08-25T20:21:02.185-07:00Tell Talesby Thomas Connelly<br />
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So on a beautiful full moon night, one of those nights when the stars hide away and the moon swollen and full makes the world glow silver; I drove into town to see Tell Tails, a new performance piece by Bridget Bridget Nicklason-King.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkwSwBe_Suimyb9FikFEvjy_qkVX8wWTZ0moof6hvM62K814Zuc3CMmpfbcpUzkNDtVX3_9vQxQqAFwfJHESuiOT_45c7U6xx3qk-Zy-VhKRhGVv-gvQmV4nczkMzXGyZXpRF3mxsFib6M/s1600/1404738510.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkwSwBe_Suimyb9FikFEvjy_qkVX8wWTZ0moof6hvM62K814Zuc3CMmpfbcpUzkNDtVX3_9vQxQqAFwfJHESuiOT_45c7U6xx3qk-Zy-VhKRhGVv-gvQmV4nczkMzXGyZXpRF3mxsFib6M/s200/1404738510.jpg" width="133" /></a>The sort of night that is the power of the <a href="http://www.theoi.com/Khthonios/Hekate.html">woman</a>.
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Tell Tails was a show inspired by Bridget’s granny. One can imagine the performer as a child listening intently as her grandmother told wild stories of adventure, danger and love. All completely true…and then some.
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Old, old, ancient the stage is, older than writing. And the sparse, black stage is a new universe, a unique self contained world. This evening we were expected to believe that we were on the beach, on the edge of a wild salt sea. A churning sea made of broken glass. Tossed and smashed by fierce waves the empty wine bottles shatter and shatter again, until they are ground into dust, into sand of the beach. And the sand can be melted, reformed into glass, endlessly rocking.
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And like the poet who uses the flowing, alternating vowel to create emotions, or as the cunning <a href="http://mentalfloss.com/article/53295/10-fascinating-facts-about-ravens">raven</a> who picks up objects to alert and inform the others, so too the performer uses flowing alternating gesture, motion, to grasp ideas, to create meaning.
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Not quite mime, rather something more like to dance, to an art of motion. Not quite a narrative. Rather Tell Tales was like a strange utopian burlesque. Music and dance. Comedy, clowning, cabaret, chaos. Wine, sand, and popcorn.
House lights off, a spot light, and Bridget Bridget Nicklason-King starts off the show hiding under a red sheet. Strange, protean, shapes under the sheet. A cluttering noise and we see her, bound, trying to come out of, trying to free herself from, this tattered worn and well used gladstone bag. Like a child being born? Does she wobble around like a baby foal unsure on its feet? Or is this a ecstatic, drunken, dance? One review, not seeing the bag as a uterus, saw it as Pandora's box “releasing its torrent of horrors before collapsing into the last rays of hope.”
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Both views I am sure are right in their own way, and at the same time wrong. Wrong in the sense of not being concrete, not being complete.
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But here is the point where the work may cause a divide. If you want your art, if you want the theater experience, to be all wrapped up and tidy, if you want all the various strands to come together in a neat bowpackage -- this work is not for you. If, however, you do not mind having to add structure, to fill in the spaces, if you understand that art, like life, is not neat and tidy, but rather fraught with errors that extend and liberate us; if you think that the genius and the fulfillment of art is to play, than this is a work for you.
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The supporting staff around Bridget did a very good job, the set design, lighting, and sound blended together to support the performance, and were always discrete.
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The only negative I can find is more a problem with the space. Bridget ended the show swimming in the broken glass sea. However due to the line of sight, I was unable to see this very well. I could, however, hear -- which in many ways is not a negative at all, but further to the idea of having to add elements to the show.
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To find out more about this performance piece and Bridget Bridget Nicklason-King you should click on this <a href="http://bridgetbridge.com/">link</a>.
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<br /><div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-7396118985612750822014-08-18T15:41:00.000-07:002015-08-25T20:21:23.254-07:00Lola's New Cousin<div class="separator" style="clear: both; text-align: center;">
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by Thomas Connelly<br />
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Some people find breast feeding confronting, but what happens when the baby gets hungry? She drinks her mum's milk of course.<br />
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I went to the Aboriginal Centre in Risdon Cove on National Aboriginal and Islander Children's day, as part of World Breastfeeding Week, to the launch of the children's book, Lola's New Cousin, written by Luana Towney.
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This book is more than a simple children's book. Sometimes, a teacher once told me, you will hit a wall, the only way around this wall will be a book. Lola's New Cousin is such a book, adding to our communal toolkit. In her work with aboriginal mums Luana noticed that the decision to breast feed or not depended on the support, and ideas of those around the expectant mother.
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In communities and families where breast feeding was frowned upon, for whatever reason, new mums would be hesitant to breast feed their babies. Conversely when breast feeding was embraced by the local community it was relatively easy for women to chose to attempt to breast feed.
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Breast feeding may be natural, but for many women it is not intuitive. Successful breast feeding requires a supportive infrastructure to support the mother and child.
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Seeing the general lack of education about breast feeding, in particular the lack of family friendly education, Luana Towney did not sit back discussing the problem, but rather used her formidable skills and experience to create a delightful children's book.
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Visiting her new cousin, Lola a curious preschooler, sees her aunty feed baby. “Lola has a little giggle. She can see how much baby likes her mummy's milk.” This simple domestic activity is given the power of the written word, making it a strong lesson for the little ones.
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The illustrations by Rosemary Mastnak are whimsical and gentle, capturing the warm, snug world of maternal love and nurturing. Well laid out with a readable font this book would be ideal for reading aloud to younger children, as well as entertaining and challenging emerging readers.
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This gentle, sweet, slice of domestic life cleverly hides the fact that this book is, in fact, a weapon in the fight for better outcomes for children; subtly showing the crucial link between breastfeeding and newborn survival and health.
Lola's New Cousin, Luana Towney, National Aboriginal and Islander children's day, Rosemary Mastnak, World Breastfeeding Week<br />
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<br /><div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-83681598917658253242014-08-06T17:04:00.001-07:002015-08-25T20:21:38.070-07:00Bullshot Crummond<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFgoRPbD4h2kizUlULU6qPlhr0A20Oo1p752nlIHEqDORgs1XaOe5zzw7A6kuCoIE6bQPL8pcDXdzTV7Eaah6ZZdUzGub2Tw7n-BcAzLp8wGmsSTpR82626nekV99fj7dKCcsyI3JaYTd/s1600/10574428_623627367753407_1144559156095477463_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFgoRPbD4h2kizUlULU6qPlhr0A20Oo1p752nlIHEqDORgs1XaOe5zzw7A6kuCoIE6bQPL8pcDXdzTV7Eaah6ZZdUzGub2Tw7n-BcAzLp8wGmsSTpR82626nekV99fj7dKCcsyI3JaYTd/s200/10574428_623627367753407_1144559156095477463_n.jpg" width="200" /></a>by Thomas Connelly<br />
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On Friday August 1, I went to the Sorell Memorial Hall to see, Bullshot Crummond, performed by Sorell On Stage. Sorell On Stage is an amateur, regional theatre group.
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Who is Bullshot Crummond? Originally a series of best-selling novels by H. C. McNeile, under the pseudonym of Sapper, about a World War One veteran, Captain Hugh "Bulldog" Drummond, "a demobilised officer who found peace dull." From 1920 until his death in 1937 McNeile wrote ten novels about Bulldog, as well as several adaptations for stage and screen. Over twenty Bulldog Drummond movies were produced, making the transition from silent to talkies.
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In 1967 for the first of two movies Bulldog was brought back, revamped as a Korean War veteran, and cashing in on the James Bond craze. In 1974 the play Bullshot Crummond was written. This was a nostalgic parody looking back to the long golden afternoon of the sun that never sets. An echo of an echo. This version does not glorify public school bullies like Captain Hugh "Bulldog" Drummond, but rather seeks, like a sapper, to undermine that nationalist, militarist, sexist, point of view.
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Parody works well with part time actors who do not have the independence to take months getting into character. Broad stroked, stock characters; the adventurer, femme fatale, distressed damsel, villainous Germans, are there to be indulged. This allows for a natural, absurdist, humour to prevail. The SOS troupe seems to enjoy not only breaking, but sacking the proscenium. Harking back to a tradition older than Shakespeare, Bullshot allowed the director and the company to let the audience in on the joke, to make the audience part of the action.<br />
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Bullshot Crummond serves up some technical difficulties. The play opens with a plane crash, and includes a car chase. Using scant resources new director Barry Bryan came up with amusing answers to these problems. However; the pacing of the show was a bit hit and miss. In this sort of farcical comedy more snap is required from the cast. Cutting ten or fifteen minutes from the running time, would have greatly increased the comic value.
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The next production by Sorell On Stage will be a children's play My Mummy is a Mermaid, by member Michelle Pears. Auditions will be held on August 24 for a production in November. Visit the <a href="https://www.facebook.com/SorellOnStage">SOS facebook page</a> for more information. <br />
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<div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-40510115740617160262014-07-21T15:45:00.000-07:002015-08-25T20:13:26.145-07:00MAN-MADE<div class="separator" style="clear: both; text-align: center;">
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We are, The Philosopher said, animals whose nature it is to be artificial.<br />
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Sitting and and at the same time hurtling 100 kilometers per hour down the highway, through showers of heavy rain, listening to Radio National, I made my way to the Schoolhouse Gallery, Rosny Farm to see the exhibit Man-Made. An exhibit of recent paintings by two local artists Peter Tankey & Aaron Wasil. Even the the Schoolhouse Gallery itself comments on the dichotomy of the natural and the artificial. The building was built as a bicentennial project and is modeled on a schoolhouse that was built at Osterly about 1890.
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The works exhibited were described by Aaron as “a silent but evident struggle between natural and manufactured”; or to use a more classical structuralist metaphor, “the raw and the cooked”.
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I enjoyed both painters works. The artists had very different styles, but both seemed to be pointing in similar directions. Aaron Wasil used a slick, cool style. With a simple color palette his style emphasized angles and varied points of view. The works of Peter Tankey, on the other hand, created a kaleidescopic rush of color and form. The detritus of everyday life gathered in staged, and at the same time almost random locations.
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The exhibit brought together two different styles. One, almost photo-realist in style, the other more mannered. This difference reflects and reinforces the overall theme of the exhibit and allows us to see different responses to similar material conditions. differences that arise out of twenty years of friendship and shared artistic journey. Differences that arise from late night, wine fueled discussions of artistic practice. Differences that are more about style than they are about philosophy.<div>
We live in a world that is full of change. We live in a world which does not know how to change, a world that is unsure and seemingly afraid to change. A world afraid to reflect, a world that seems to me to be similar to Europe before the First World War. So I will leave the final word to Rainer Maria Rilke. In the first of his Duino Elegies Rilke wrote:
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<i>...and the nosing beasts soon scent <br />
how insecurely we're housed in this signposted World. <br />
And yet a tree might grow for us <br />
upon some hill for us to see and see again each day. </i><br />
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<div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-19607683402223536742014-07-07T16:50:00.000-07:002015-08-25T20:15:58.053-07:00BIG BABY<div class="MsoNormal">
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<span lang="EN-US">Playing at the Theatre Royal Hobart <o:p></o:p></span></div>
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<span lang="EN-US">By Gai Anderson<o:p></o:p></span></div>
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<span lang="EN-US">Big Baby the latest show from Terrapin
Puppet Theatre, is an evocative multilayered piece of puppetry and visual
theatre created for children and families. Directed by Sam Routledge and
written by Van Badham, the show explores notions of vulnerability and power
through the journey of the Big Baby and his father.<o:p></o:p></span></div>
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<span lang="EN-US">Playing with changes of scale, the talented
team from Terrapin use a variety of hands-on puppetry and visual techniques
including, live microscopic digital projections, video, bunraku, object and
silhouette shadow puppetry, as well as comic live, acting sequences reminiscent
of the silent film era. Refreshingly free of text, an emotionally evocative
soundtrack – <span style="mso-spacerun: yes;"> </span>including the original
music of composer Heath Brown – largely drives the show’s narrative.<o:p></o:p></span></div>
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<span lang="EN-US">Playing with the dichotomy of the cute and the
monstrous, I’m not sure I liked the baby at first, with its ravenous appetite
and not-so-cute visage. Yet this contradiction of empathy is cleverly
transformed through a range of references and contexts throughout the piece. For
example, we see the baby in relation to the nasty childcare worker and also his
struggling loving father, and then later the baby becomes the lost child in the
wilderness, and finally a super hero fighting the monster in the style of a
B-grade Japanese sci-fi movie. However at times these jumps are so big they are
confusing and I would have perhaps liked a few more signposts to help me
through. <o:p></o:p></span></div>
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<span lang="EN-US">The performances are all wonderful, with Kane
Petersen’s background in clowning coming to the fore as the brilliant Chaplin-esque
father, whilst the multi-skilled Bryony Geeves shines in multiple roles, not
the least in bringing to life the Big Baby itself. <o:p></o:p></span></div>
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<span lang="EN-US">Created to appeal to a wide range of ages, some
of the audience seemed to really love the vacuum cleaner monster, but it didn’t
really sustain for me. At times, the plot details also got lost between the
various techniques and layers of story. But overall <i style="mso-bidi-font-style: normal;">Big Baby</i> is full of entertainment, humor and pathos. The show
doesn’t shy away from stepping into the uncomfortable at times, is visually beautiful,
brilliantly realised technically, and left me pondering its thought provoking
ideas.<o:p></o:p></span></div>
<div class="blogger-post-footer">What do you think?</div>gai andersonhttp://www.blogger.com/profile/05926735623241920723noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-77154235396791624582014-06-11T22:58:00.000-07:002015-08-25T20:18:47.790-07:00Arnold Zable and The Cry of the Excludedby Thomas Connelly<br />
<br />
This is slightly different; not the review of a performance, but rather of a public lecture. I am not reviewing something entertaining, rather documenting an education.
<br />
<br />
On Saturday night, June 7, I went to the Founders Room in the Salamanca Arts Centre for Hobart's inaugural PEN lecture. The theme was <i><b>The Cry of The Excluded</b></i>. On the stage there was everything required for a public talk. An empty chair sat on stage. A chair that represents the silence, the isolation, the locking away of the persecuted writer. This is a PEN tradition.
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<br />
<a name='more'></a><br />
PEN stands shoulder to shoulder with, and offers support for, silenced writers. Founded in 1921, the PEN charter was developed in the maelstrom of world war; the aftermath of the First World War, the horrors of the second, and the apocalyptic tensions of the cold war.
<br />
<br />
Award winning author and human rights advocate Arnold Zable, spoke with the sort of passion that comes from many years of active work with refugees, immigrants, the homeless, the profoundly deaf, black Saturday bushfire survivors, problem gamblers, as well as other groups.
<br />
<br />
I was moved by his talk and by the stories he related. These distressing images moved me; the father singing lullabies in his dreams, to his dead daughter. Images of war, of villages burning, of random shootings, of torture, of children slipping from the grasp of their parent, and most distressing of all, the image of children disappearing under the waves.
<br />
<br />
Defeating despair Arnold Zable spoke of a way forward. He mentioned Carl Jung, who looked for meaning in people's comments. Jung concluded that every person has a story. He noted that when this individual story is ignored or rejected, despair arises. One becomes whole when one knows their own story, but most importantly when others truly listen to the individual story. It seems that it is not a coincidence that the stories of the dispossessed are silenced. It is made difficult for journalists and photographers to access and interview individual refugees. It is easier to demonise faceless men and women, as Menzies understood, than to demonise those whose stories we hear and understand.
<br />
Zable spoke of the process of talking and listening between the story teller and the writer. This unity of talking and listening works as therapy, as a way to bring a person to wholeness. He told the story of a woman affected by the Victorian bushfires. She told him that the writing workshops were better than counseling and had a restorative power.
<br />
<br />
<i>‘In counselling sessions I feel I am a client, like I am a victim. When I do this story telling, I feel I am in control.’</i>
<br />
<i><br /></i>
This brings me to my final point. In a previous job I was an OH&S representative, and did some research into workplace stress. A paper made the point that it was not hard work that caused stress. The trigger for stress was a lack of control, the inability to see a path into the future. And who in our society most pointedly feels this uncertainty than refugees held by our government in indefinite detention?
<br />
<br />
<i>‘Even criminals know the date of their release,’</i>, one woman at a detention centre told Arnold.
<br />
I was pleased to be at this inaugural PEN Lecture in Hobart. It was a strong start to this new tradition to have the first lecture be given by such a powerful speaker, one who was able to speak with great authority and passion, articulating the cry of the excluded.
<br />
<br />
The PEN Lectures are an initiative of the Tasmanian Writers’ Centre in partnership with PEN Melbourne and Amnesty International.<br />
<br />
<br />
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<div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.comtag:blogger.com,1999:blog-653769991603074654.post-49044274014348684412014-05-24T08:35:00.000-07:002014-05-24T08:35:30.445-07:00JUST ADD IMAGINATION<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRrYFh-9JvxKhL239VhyphenhyphenODGTGglkPsq7HrdP3XniCskwba38vqeFmrVuQscvBXc41qo8uYPXKkk2pp3b6fR7dx4JnoLzqsLDKx_5GJyuGHyf5W6h1deB1AJUe1wAhFK8-X9Pas-WC92XTi/s1600/rabbit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRrYFh-9JvxKhL239VhyphenhyphenODGTGglkPsq7HrdP3XniCskwba38vqeFmrVuQscvBXc41qo8uYPXKkk2pp3b6fR7dx4JnoLzqsLDKx_5GJyuGHyf5W6h1deB1AJUe1wAhFK8-X9Pas-WC92XTi/s1600/rabbit.jpg" height="200" width="175" /></a></div>
<div class="western" style="margin-bottom: 0cm;">
Art from Trash! Wow!
One of the most eagerly awaited art events in Hobart these days is
organised by the Resource
Work Cooperative, best
known for running the <a href="http://www.resourcetipshop.com/p/about-resource-work-coperative.html">Tip Shop</a>.
<br />
<br />
For non-Australians, a word of
explanation. A "tip" is a refuse dump, garbage tip, waste
disposal facility. In other words, where the detritus of civilisation
is sent to die. Since 1993 the Resource Work Cooperative has been
collecting and selling discarded items from a shed at McRobie's
Gully, South Hobart, and you can pick up some wonderful things for a
minuscule amount of money.<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
In
1995 they organised the inaugural <i>Art From Trash</i> exhibition,
open to all comers, with the only proviso being that the source of
materials used in artwork construction be the Tip Shop. It's proved a
huge success, with participants ranging from kindergarten classes to
professional artists and it's amazing what they create.<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
There
are always variations on some standard pieces: dresses made from
furnishing fabric, tablecloths, packaging materials, drink can
ring-pulls or disposable cups; guns, robots and humorous animals from plastic bottles
or scrap metal; old windows as picture frames; furniture rejuvenated
with mosaic, decoupage or painted images; serious assemblages with
meaningful environmental messages hand-written across them. Each year
there is something clever, some idea so simple and obvious you wonder
why you haven't seen it done before, something beautifully crafted
from unlikely materials, or something that's just plain silly and
great fun.</div>
<br />
<div class="western" style="margin-bottom: 0cm;">
These
are some of my favourite pieces from this year's exhibition.</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheyBuQrAYURPO3kEzDBuD7KXnc2tjYo6B5AkZIc2Y8rQbx1p3N6_9wYVtVrvLKnIVCCsA3okmSpHWqOlrrUIZgBbaeeiVuaOdVGsF08RH0s2o6_TSzuEeP2-Xh1igIwbh52fGEDPgFYs-E/s1600/JordanVly.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheyBuQrAYURPO3kEzDBuD7KXnc2tjYo6B5AkZIc2Y8rQbx1p3N6_9wYVtVrvLKnIVCCsA3okmSpHWqOlrrUIZgBbaeeiVuaOdVGsF08RH0s2o6_TSzuEeP2-Xh1igIwbh52fGEDPgFYs-E/s1600/JordanVly.JPG" height="269" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;">Some
fanciful constructions by children from the Jordan River Learning
Federation – I especially liked the suspended globe with a 33 rpm
record as "rings".</span></div>
</td></tr>
</tbody></table>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOulFmhzpkrpMAXthhEIVDgwvjZUa0lulmp9YQlngAVN6JHTquFK6T1m65aQFfjfWZRo2AjrRuCs0iOvGjScTzoxyHz7cKgEmdn0iwFpL_qFHZcvkfXOwBZSqC-Wuf4gsDMNPAA4iIMA7p/s1600/face.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOulFmhzpkrpMAXthhEIVDgwvjZUa0lulmp9YQlngAVN6JHTquFK6T1m65aQFfjfWZRo2AjrRuCs0iOvGjScTzoxyHz7cKgEmdn0iwFpL_qFHZcvkfXOwBZSqC-Wuf4gsDMNPAA4iIMA7p/s1600/face.JPG" height="320" width="227" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif;">The
Margate Primary School kindergarten class took the theme of Faces,
children using a variety of scrap plastics, papers and fabric to make
faces which were then assembled as a great, big smile.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWFv_f4jXT5our1X3KLWVge8HlFvFdPsBWsFrww8e3bT65fUMXqyGPJqVwq5Ndv6XNw52HmxALasrotgqbYr8mIc8mtKwyW2whRdzmXYl0ZemA0LBhbx2RHMtBBByLv-wQMQKglPllGwM/s1600/assemblage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWFv_f4jXT5our1X3KLWVge8HlFvFdPsBWsFrww8e3bT65fUMXqyGPJqVwq5Ndv6XNw52HmxALasrotgqbYr8mIc8mtKwyW2whRdzmXYl0ZemA0LBhbx2RHMtBBByLv-wQMQKglPllGwM/s1600/assemblage.jpg" height="320" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif;">It was difficult to capture the
magnificently ridiculous sculpture, </span><i style="font-family: Arial, sans-serif;">Egghead</i><span style="font-family: Arial, sans-serif;"> by Melanie
Zaugger; and I really liked the use of a tow-chain and hook as a very
silly bird called </span><i style="font-family: Arial, sans-serif;">Stickynose</i><span style="font-family: Arial, sans-serif;">
by Alan Culph</span> </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7KdsSS8Yd-D58zXqSHsvJxuDcLIOpqDYHfKP5l_vE15wHcdURJChKF9Cy1GQD7xBf_zFtkYVEL4W-6nM5TEm3NpdJjYPPnasIX1BHf3u0DSxrIYyDRvNsGnjnI96JvjjOzga-hmruiX3n/s1600/plastic.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7KdsSS8Yd-D58zXqSHsvJxuDcLIOpqDYHfKP5l_vE15wHcdURJChKF9Cy1GQD7xBf_zFtkYVEL4W-6nM5TEm3NpdJjYPPnasIX1BHf3u0DSxrIYyDRvNsGnjnI96JvjjOzga-hmruiX3n/s1600/plastic.JPG" height="320" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="western" style="margin-bottom: 0cm;">
It's
been done before, and it will be done again, but I always enjoy a
well done assemblage of plastic toys. These are two pieces by
Catharine Brunt – <i>Production Madness </i>and
<i>Plastic Warfare</i>.</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKcNEPKH7xESmmeh83QEJGaMUpiVu4ALM0sJ-pm943KjTqZSeDc6N_CZzKGtfjFYIUzDK0aEpRJrxWUsTcteij5hQyUwqIsFYtyVYptVXeXBuxB_48XpdVsITV9nJOhNLr2UDHgcsoReOy/s1600/tipToes.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKcNEPKH7xESmmeh83QEJGaMUpiVu4ALM0sJ-pm943KjTqZSeDc6N_CZzKGtfjFYIUzDK0aEpRJrxWUsTcteij5hQyUwqIsFYtyVYptVXeXBuxB_48XpdVsITV9nJOhNLr2UDHgcsoReOy/s1600/tipToes.JPG" height="279" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="western" style="margin-bottom: 0cm;">
So
this is where Cinderella's slippers went! To my chagrin, it took me a
couple of minutes to appreciate the title of this one – <i>Tip Toes</i>
by Patsy Primozich.</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX7oT9TLPpTOXWxuBqVlt6ve7bO9-cuKUxPXrOhYRdXgxuewBWXt6dfTeM9C_FTeUdV7CemyXRzqKIf6edtNhYikv1s7mnYj5bONMT_T5l7gDEftgq5we9AvfI8lIAZ3-ZWOANuihHd496/s1600/tripe.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX7oT9TLPpTOXWxuBqVlt6ve7bO9-cuKUxPXrOhYRdXgxuewBWXt6dfTeM9C_FTeUdV7CemyXRzqKIf6edtNhYikv1s7mnYj5bONMT_T5l7gDEftgq5we9AvfI8lIAZ3-ZWOANuihHd496/s1600/tripe.JPG" height="320" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="western" style="margin-bottom: 0cm;">
This
works so well on so many levels – <i>Tripe Trophy</i> is a
beautifully knitted/crocheted sheep's head mounted on a serving tray
with an affixed Onkaparinga blanket label. Karen Lyttle's succinct
Artist Statement says: <i>Our throw away culture is tripe, our lack of
regard for domestic animals, tripe also.</i><br />
<span style="font-family: Arial, sans-serif;"><i><br /></i></span></div>
</td></tr>
</tbody></table>
<table align="left" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrm7Q_p8R_Epf37_JXirrGvyiYAEtlrUBiuJHtkYFVcZma0bgHW8c2HGZ2f229mL7nCtVqQJU_WM7XqXen8NGaPXFyjjUha6aVCdOm6T_QCW6h71jgm8fKj1ZWKDkMaox7lDgER7NvTGo0/s1600/lastBattle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrm7Q_p8R_Epf37_JXirrGvyiYAEtlrUBiuJHtkYFVcZma0bgHW8c2HGZ2f229mL7nCtVqQJU_WM7XqXen8NGaPXFyjjUha6aVCdOm6T_QCW6h71jgm8fKj1ZWKDkMaox7lDgER7NvTGo0/s1600/lastBattle.jpg" height="232" width="320" /></a></td></tr>
<tr><td style="text-align: center;"><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja0RyERv00Ps0YWmULs3_9mOAzyjmdx8xowlbj3HSRufEVnw39PC4tWK5jwzILFHfLBclyNHHVrlpGsYRLC0AApjVgSTbspS4zryAJ1KUjEhfiAhyJ5vlQnSLwHP9L1P-T_pvxCGWdSwqi/s1600/trashSnack.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja0RyERv00Ps0YWmULs3_9mOAzyjmdx8xowlbj3HSRufEVnw39PC4tWK5jwzILFHfLBclyNHHVrlpGsYRLC0AApjVgSTbspS4zryAJ1KUjEhfiAhyJ5vlQnSLwHP9L1P-T_pvxCGWdSwqi/s320/trashSnack.JPG" /></a>
</td></tr>
</tbody></table>
As usual, this exhibition was not short on guns and robots, and very beautifully crafted they were, too. In fact, that was their downfall because the artists seemed so focused on perfecting the object they failed to convey any particular message. Not so <i>The Final Battle </i>by Hein Poortenaar.<br />
<br />
Yes, the craftsmanship and finish are there, but there is a deliberate battered uncertainty to these "weapons". Vaguely anthropomorphic, they totter on crooked legs threatening to collapse at any moment. Cobbled together from whatever happened to be available, they make an exhausted last stand that I found very poignant<br />
<div class="western" style="margin-bottom: 0cm;">
<br />
<div class="western" style="margin-bottom: 0cm;">
My
favourite, however, had to be <i>Trash Snack</i> by Saarasa Madden
and Rayma Kennedy. Here is one of those crazy, obvious ideas that has
you cracking up with laughter at its audacity. What to do with all those plastic bags? I think the picture
says it all, really.</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;"><br /></span>
<span style="font-family: Arial, sans-serif;"><br /></span>
<span style="font-family: Arial, sans-serif;"><br /></span>
<span style="font-family: Arial, sans-serif;"><br /></span>
<span style="font-family: Arial, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
This year's Art From Trash exhibition - 24
May to 4 June, 2014 at the Long
Gallery, Salamanca Arts Centre. Get along and see it. It's anything but trashy art.</div>
<div class="western" style="margin-bottom: 0cm;">
More information: <a href="http://artfromtrash.org/">http://artfromtrash.org/</a></div>
</div>
<div>
<br /></div>
<br />
<br /><div class="blogger-post-footer">What do you think?</div>Elizabeth Barshamhttp://www.blogger.com/profile/00458394232386427313noreply@blogger.comHobart TAS, Australia-42.881903 147.32381399999997-43.627037 146.03292049999996 -42.136769 148.61470749999998tag:blogger.com,1999:blog-653769991603074654.post-9011772654455462662014-03-25T21:52:00.000-07:002015-08-25T20:22:20.359-07:00Ausländer<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaWyguKf9YgtoZEt6hW4h_OdXn4Y10S_jeaMQrIyIC0x5I01-9sf92XVSkZV60qF99aVIvXCXqzWUqGh_0dPDeSPw1iIGCMDcnK3OPb5mUK4N6UYdjmzXagAooYcLedHMGnFvaC7shLmMJ/s1600/Nikolaev-1933.-2012.-Oil-on-canvas-50-X-50cm..jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaWyguKf9YgtoZEt6hW4h_OdXn4Y10S_jeaMQrIyIC0x5I01-9sf92XVSkZV60qF99aVIvXCXqzWUqGh_0dPDeSPw1iIGCMDcnK3OPb5mUK4N6UYdjmzXagAooYcLedHMGnFvaC7shLmMJ/s320/Nikolaev-1933.-2012.-Oil-on-canvas-50-X-50cm..jpg" width="320" /></a></div>
by Thomas Connelly<br />
<br />
Being an atheist I am not moved by spirituality, indeed I am mistrustful of words such as god or the soul. Art then, in it's manifold forms, is what passes as prayer for me. Feeling this way about art, it follows, that there few experiences better than coming across an artist whom you know nothing about, but whose work immediately knocks you out.
<br />
<br />
Seeing -- quite by accident -- the exhibition, Ausländer, by Nina Keri, was one such experience. Ausländer is a German word meaning foreigner or alien. This word is often used as a pejorative. Keeping this in mind, one is struck by the power of the paintings.<br />
<br />
Simple designs painted on mostly found bits of board, plexiglass, or whatever was handy and appropriate. With these simple designs, found surfaces, and her restricted palette Nina was able to impart a great, dark, the-world-is-closing-in sort of emotional experience.
<br />
<br />
All sorts of images assailed me, and sent my thoughts chasing off in varied directions. Seeking a grounding for these works I recalled half forgotten romanticised images of Old World fairy tales; the running about oak and pine coverts of my difficult boyhood. Or my later disillusioned young adult years of mindless work crowding images of Werther and of Woyzeck and always the strong scent memories of my Polish grandmother's potato and cabbage cooking.
<br />
<br />
When viewing a, for me, new artist, I want to see the work itself. In this case I knew nothing of Nina Keri and could only look at the work through my own personal prism. There are many times where I learn more about an artist or an art work, and then like it less. It was only later after I had left the gallery that a friend told me that the work was based on the experiences of the grandmother of the artist during World War Two. A Ukrainian living under German rule. This knowledge and context only deepened my appreciation of the work.
<br />
<br />
Being as poor as I am irreligious it is not often that I see an exhibit where I say, “I wish I could have bought one of the works.” Ausländer is one of the few. In all a powerful body of work from an artist I had no knowledge of, but an artist I am keen to watch and learn from and about. This is one of those rare must see exhibits, and I recommend everyone goes to see it. <br />
<br />
<br />
<div class="blogger-post-footer">What do you think?</div>Tomás Ó Conghalaigh 17/09/1960-13/10/2014http://www.blogger.com/profile/12055136206499617221noreply@blogger.com