“The Eye of Night” & “The Stink Magnetic One-Man-Band Show”
Two music documentaries that honour and celebrate Alan Robert Cameron, also known as ALC5, producer of the alt hip hop group Coco Solid, member of The Hi-Tone Destroyers and initiator of the living room venue “The Eye of Night”.
“The Eye of Night” (2011) by D.Thomas Herkes
The live music venue run by ALC5 and Clare McNamara in the living room of their flat above the shops on the main street of Whanganui, a small town in the North Island of New Zealand. Over 80 performances of local, national and international bands occurred under the radar of most but firmly in the sights of many simply powered by one 3-pin outlet in the wall of a conventional living room and the inspiration of a few like minds. Featuring live performances by Die Die Die, Delaney Davison and his 9 piece Ghost Orchestra, The Show is the Rainbow, Sets, The Wrongdoings and featuring over 30 interviews with musicians and people that visited the venue from all over New Zealand.
“The Stink Magnetic One-Man-Band Show” (2007) by ALC5
A documentary by ALC5 following a fairly unconventional travelling one-man-band show around the South Island of New Zealand in the middle of winter. From the opening performances of The Mysterious Tape Man, Boss Christ and Bad Evil at 9am on the interislander to the much anticipated visit to the whiskey museum in Gore, be spell-bound by the occasional sprinkling of actual music-playing, in between other more important road-trip related stuff. Made entirely by one man, Mr ALC5, complete with cameras and microphones fitted in a van as the 4 friends drive from Picton toDunedinand back again.
“The Eye of Night” & “The Stink Magnetic One-Man-Band Show” show at:
The ARC Theatre, Whanganui, July 1st, 8pm, koha
a gallery,Dunedin, July 7, 7pm, koha
The NZ Film Archive,Wellington, July 28, 7pm, $6/$8
The Audio Foundation,Auckland, July 29, 7pm, koha
STINK MAGNETIC RECORD CO. EST.19981ST FLOOR,OLD CHRONICLE BUILDING, CNR. DREWS AVE &RUTLAND ST, WHANGANUI,NEW ZEALAND
“To be a good painter, you have to be a bit stupid”
The act of painting; It’s like creating a flame by rubbing two sticks together. The discipline isn’t always efficient. It’s messy, materially and conceptually, but the process is spiritual and the resolution, magic.
Passionate and romantic, the small colourful works on raw wood paneling present folksy imaginings. Just as Rousseau painted the jungles of Africa without ever leaving Paris in his lifetime, my dreams are other-worldly, and I struggle to realize them in paint.
The process of painting straight onto unprimed building material, is reminiscent of work by Australian outlaw artist Ian Fairweather. My methods are partly a result of my fascination with outsider painters. The work also touches on the psychedelic notion of hallucination, seeing crawling visions in inanimate objects and walls.
Ghosts are real, they live in our subconscious, they are the shadow part of human love. The past is all we have. Everything that is dead, or extinct, still exists on another plain. In my paintings ghosts are acknowledged, the past is captured, and immortalized.
The Thylacine became extinct in the 1930s, at the same time the surrealists were hitting their stride in Europe. The marsupial is from Tasmania, (a small island off the South of Australia) the creature stands as a symbol of exoticism in Australasia. Proud but lonely this Tiger is painted bigger than life, bigger than me. He stands in a futurist environment, space like. He has transcended, and exists on another plain.
It is said that children can’t differentiate between inanimate objects and living things. When I was very young, 3 or 4, I had no real friends; I created them out of paper and cardboard, the same size as me. It was wonderfully fulfilling! It still is.
Dyana Gray 2011
ONLY a handful of the works in Rachel Taylor’s new show at A Gallery were created specifically for it.
The rest are drawings the Dunedin artist has been working on over the last couple of years – a departure from her usual work in ceramics, assemblage, and oil painting.
“I’d been a little bit transient,” Taylor says. “And to fulfil my practice I’d been drawing because it’s something you can just do anywhere. There’re four larger works I did especially for the show, but the smaller ones were made to fulfil that need to create.”
The artist went through the Master of Fine Arts programme at the Otago Polytechnic School of Art during its first intake several years ago. Her fellow Masters’ graduateJay Hutchinsonopened A Gallery in late 2010, and approached Taylor for what’s her second solo show.
Over the period of their creation, the artist says she’s heavily edited and reworked the drawings included in Black Hole Verses Baby Universes.
“There were works where I’d gone right to the edges and put colour in and realised they weren’t as strong,” she says. “The more work you make the more you can stand back and compare work at different stages – if you’re working on a few at a time you can see them unfolding and can make some educated comparisons between each stage.”
However, Taylor is glad some of the works in the show were created before Hutchinson approached her. This is because the work was created in a less self-conscious manner, and free of time related pressures.
“They’re completely free flowing intuitive works,” she considers. “It’s nice to have the backing of all that technique and knowing you can do that but then also let go of all that formal structure and go ‘I’m just going to have fun and make some work’.”
Despite the compact size of some of the works in Black Hole Verses Baby Universes, Taylor says eight or nine hours of drawing time have been poured into many of them.
It was a deliberate decision to spend that amount of time on them, she explains, due to the meditative nature of the process and a desire to “spend time investigating the pen and different textures”.
Apart from the ink drawings, another interesting work in the show is a castle constructed of cotton buds, straws, and toilet rolls.
“I like making something out of nothing and trying to transcend the material,” Taylor says. “Making something that’s really beautiful and almost spiritual out of everyday objects.”
Rachel Taylor’s Castle has no doubt caught the attention of many people walking along Princes St. Located in a gallery’s front window, this candy-coloured mixed media construction recalls the extravagant whimsy of Spanish architect Antoni Gaudi. Closer inspection reveals that this mixture of castle and cathedral has been created from coloured cotton buds and drinking straws, built around an undisguised armature of cardboard toilet rolls. This intricate celebration of childlike fantasy is also strangely unsettling.
Its writhing forms seem as vulnerable as a house of cards. This same combination of beauty, playfulness, decorative pattern, vulnerability and anxiety also characterisesTaylor’s mixed media works on paper. These densely layered images, mixing drawing, painting and collage, both seduce and disturb. This is especially true of those works featuring children.
In The Good Book, a series of blindfolded young girls are shown kneeling, praying and clutching books. What could be a perfectly innocent childhood game appears distinctly sinister, with the girls surrounded by a cluster of staring eyes, while a serpent slithers among the flowers. Other works feature bats, ghost and owls, the haunted house imagery of childhood fears, youthful figures engaging in sexual acts, giant insects and strangely psychedelic plant life.