Art & Culture

ARTIST AT WORK

No.37: Michael Taylor, Three Tiered Table, Oil, 117cm x 81cm, £POA

Since leaving Goldsmiths in 1973 I have been working more or less continuously on one picture at a time, one after the other. Spending some months on each means that not only do they develop their own individual structure, but can contain the complexity of content that I favour. Working in this way also means they hopefully release this content equally slowly to the viewer. An unexpected benefit of choosing to paint figuratively and sequentially has been that it collectively adds up to a kind of visual diary of my surroundings, friends and family through the years, with continuity provided by familiar objects or people appearing repeatedly.

Three Tiered Table was the result of wanting to convey a feeling of someone gazing down through their own reflection into a slightly displaced inner space: a kind of high-rise Narcissus. It was painted in my studio in Child Okeford where I lived and worked for 30 years until moving to Dorchester recently, so it will be very special for me to be showing it at the Art Stable along with other works created there, particularly as this will be my first gallery show outside central London for forty years, and by chance coincides with my 70th birthday.

__________________________________________________________ Saturday 5th February - Saturday 5th March 2022 Michael Taylor - Attic Stories The Art Stable, Gold Hill Organic Farm, Child Okeford, Blandford DT11 8HB

__________________________________________________________ theartstable.co.uk mrtaylor.co.uk @michaeltaylor5863

ON FILM

Andy Hastie, Yeovil Cinematheque

Capernaum (2018)

Since opening up after lockdown at the beginning of October we have shown three films at Cinematheque and with ever-increasing audiences as members return to watching intelligent films on the big screen. It’s so good to be back and coming up this month we have two more excellent offerings before the Christmas break.

On 8th December we show Nae Pasaran, the true story of workers at the Rolls Royce factory in Scotland, and their refusal to service engines from the Hawker Hunter fighter planes being used by the military junta in Chile to bomb civilian targets. In 1974 the military had overthrown the democratically elected government, and their brutal power-grab installed a reign of terror and torture. By refusing to co-operate with the junta the Scottish workers saved untold Chilean lives and 40 years later director Felipe Bustos Sierra travels to Scotland to find those responsible and thank them. These principled, now elderly men, are told of the huge consequences of their life-saving actions, and in moving scenes demonstrate their innate decency, and a willingness to stand up to be counted when it mattered. Essential viewing. ‘The filming of the men’s response to Chilean footage shows that Sierra has a true understanding that real feelings, unfolding in real time, make an unbeatably potent cinematic combination.’ Sight and Sound.

On 15th December we follow with Capernaum (2018) a Lebanese drama from acclaimed director Nadine Labaki. This is the highest grossing Arabic and Middle Eastern film ever, winning the Jury Prize at Cannes, with endless other honours world-wide including the Best Foreign Language Film at the Academy Awards. This is seriously good film-making. Its story follows 12-year-old Zain in present day Beirut who, being let down by his inadequate and neglectful parents, is forced to live by his wits in order to survive. When his younger sister is sold as a child bride into marriage with the family landlord, this unforgivable deal leaves Zain distraught as he runs away, full of righteous anger and fury, into the chaotic Beirut underworld.

Despite this, Capernaum doesn’t turn to self-pity or even sentimentality, rather Zain is played as a resourceful figure fighting impossible odds, and not a passive child victim. Filmed at child height, to give an almost documentary feel, and with a mostly nonprofessional cast, Capernaum is a tribute to the resilience of children, paying the price for adult betrayal that many unregistered Lebanese youngsters still experience today. Powerful, unmissable film-making. ‘A film that already feels like a landmark.’ Daily Telegraph, ‘Capernaum is something truly special.’ Heat Magazine.

Two great films for December. If you are interested, look at our website to find the rest of our season, or come to the Swan Theatre as a paying guest to check us out. We would love to see you!

cinematheque.org.uk swan-theatre.co.uk

___________________________________________ Wednesday 8th December 7.30pm Nae Pasaran (2018) 12A

Wednesday 15th December 7.30pm Capernaum (2018) 15 Cinematheque, Swan Theatre, 138 Park St, Yeovil BA20 1QT Members £1, guests £5

CONFESSIONS OF A THEATRE ADDICT

Rosie Cunningham

Image: John Swannell

Isaw Private Lives starring Nigel Havers and Patricia Hodge at the Theatre Royal Bath. It was a matinee performance, which accounts for the titters from some of the ladies in the audience, and the theatre was jam-packed. This play is, as always, a complete delight. The script is excellent, and the comic repartee and mock fights fast-paced. Patricia Hodge is sublime; her presence is reminiscent of the sophisticated Hollywood stars of the 1950s and 1960s. Her poise and presence, for me, made the play. She moves beautifully and her singing voice is a delight. This is Nigel Havers’ first production with his own company, and it was a well-chosen play for his ageing charms. I am sure that this production of Private Lives, which is touring until April 2022, will continue to melt the hearts of various ladies of a certain age.

I was really saddened by the news that one of the fabulous new plays in the West End, which I had recently seen and loved, is closing early. Why? Possibly because it was an historical play and not something light and frothy which audiences seem to favour during the Covid era. Times are challenging still and, whilst it is pleasing that audiences are going back to the theatre, new plays really need to be supported. BC (before Covid), people went to the theatre to be challenged, excited and amazed. The audience might not have agreed with the tone or morals of the play, but they went to find that out for themselves. Now, it seems, that life is much more fragile. I love the theatre but, whilst I might recommend plays which I think have legs and that other people will enjoy, my opinions are my own.

I saw Stanley Tucci at The London Palladium talking with Dolly Alderton and publicising his book, Taste. He is extremely charming and amusing and his love of food is clear. He is, after all, already the author of two cookbooks. Stanley’s anecdotes about incidents on various film sets were hilarious. His book is money well spent and there are some wonderful recipes hidden amongst the stories.

Alice: Curiouser and Curiouser is the exhibition on at the V&A until 31st December 2021. A delightful collection of original drawing, futuristic 3D interactions and light shows, for both adults and children.

A collection of rare drawings by Katsushika Hokusai, he of the iconic Great Wave image, can be seen at the British Museum until 30th January 2022. I went with two young companions who thought that the detail of the drawings was awe-inspiring. I did too. There are 103 drawings which were originally meant to be published as a book but because that never happened, the block print drawings have survived. The curator’s tour of Hokusai: The Great Picture Book of Everything can be watched on YouTube if you can’t get to London.

AN ARTIST’S VIEW

Laurence Belbin

Many years ago I did a drawing and later a painting which included what was then ‘The Greyhound’ pub situated at the top of town. It was one of many townscapes I produced. Although the outside looks familiar and has changed very little, the inside of what was the public bar, if I remember correctly, has.

It is now called Austyn, a most wonderful den of unusual and amazing things. I was taken by some boats in the window and went in to have a closer look. I returned a few days later and asked if I may do some drawing. I was given the go-ahead and did the one shown here along with a few others. It’s a real feast for the eyes. Stuffed animals, collections of moths and butterflies, boats, bottles, Meccano toys, African face masks and a host of other gems filled the entire space. I stood, as there was no room to sit, and put down as much as I could using an HB pencil and ink on cartridge paper and later added some watercolour here and there. Once again it was a case of selection. No way was I going to draw it all but the feeling I wanted to achieve was one of a sense of busyness and that a discovery of some amazing artefact was about to be made.

Chris Austyn is an interesting and very knowledgeable chap to talk to and can tell you a story relating to most of the items he has. A collector of objects and ‘the more unusual the better’ seems to be the only criteria.

One boat I would like to draw in some detail is of HMS Victory. It stands in a huge glass case in full sail but comes with a very unusual addition, a cross section of the ship showing the various deck levels. I’ve never seen one like it before.

It would be just my luck if it sells before I get round to it.

Apart from drawing and painting, some of my time has been spent making automata, mechanical movements. These I make mainly in wood but other materials are sometimes incorporated if it helps things along. In fact I have two of my creations sharing space with all the other items in Austyn. To see it working you will have to visit the shop, where Chris will no doubt oblige.

As always, my studio is open by appointment or pot luck. If you would like to visit and see some of the things I’ve been doing then give me a ring 01935 816618 or just try the door!

As promised, I can reveal that the drawing of the cottage in the October issue is Golden Ball, at the junction of Bristol Road and Blackberry Lane.

Happy Christmas to all of you and thank you for all the kind comments I have received from those who follow my musings.

laurencebelbin.com

INTRODUCING SHERBORNE ARTS

James Budden, Artist and Teacher

When we were shut away in our homes, many of us discovered that embracing our creativity and enjoying the purity of making something – whether it was food, home decoration or art – was a release and a joy in strange and difficult times.

During lockdown I ran Zoom classes. A tricky thing to do with painting, as it required several cameras and compositing software, but I had to be inventive to stay afloat. What I hadn’t been prepared for was how encouraging and supportive our little community would be. The classes were a success and I was impressed with how well those who had originally been a little technophobic, made the most of the opportunity to socialise, as well as learn ‘virtually’. Most of all, I surprised myself with my ability to organise such a venture. These discoveries influenced what happened next.

For nearly a decade I’ve been involved in providing art activities and classes to a growing community of creative people in and around Sherborne. In addition to visiting art groups, running workshops, and doing the occasional demonstration for an art society, I taught several courses for an organisation many will be familiar with, Sherborne ArtsLink.

Over the years I saw ArtsLink develop from a rather parochial hobby group to a place where people could access a high-end learning environment. With courses planned and delivered by accomplished professionals it was embraced by many.

At the end of nearly 18 months of disruption and restrictions from doing my normal work, I was dismayed at the surprise news that the organisation I’d put so much energy into had folded; but I knew the community remained, along with the goodwill and momentum we had spent so long building, so in a moment of determination, indignation and bravado,

Sherborne Arts was born.

I contacted a few other tutors who had worked with ArtsLink before, and added Drawing with Alex Cree and Life Drawing with Susan R Hughes to my own classes. I was glad to be able to put drawing front and centre with experienced artists and teachers.

At the time of writing we are well into our first term, running courses in oil painting, drawing, portraiture, and life drawing - all from the newly refurbished Digby Hall, Hound St. Next term, beginning January 2022, we will introduce new courses, new tutors and new formats, including short courses and evening sessions.

To showcase the classes and tutors, we’ll be hosting an open day in the Small Hall of the Digby Hall on Saturday 4th December. Expect demonstrations, talks, displays, and activities. All the information will be on the website sherbornearts.org.

In addition to the classes, we’re bringing back the long-running Sherborne Art Club annual exhibition in July 2022. Up until the most recent event in 2018, the exhibition has been enjoyed by many, representing the artistic output of the region in all its glorious variety. Next year, we will be organising fringe events such as talks, demonstrations and workshops to make it a real celebration.

In future we hope to expand the scope of Sherborne Arts, as well as promoting and publicising many other artistic endeavours in the area. There is so much talent and potential here, and I want everyone interested to have the opportunity to get involved.

‘Art enables us to find ourselves and lose ourselves at the same time’, Thomas Merton wrote and I think this sums up the value of making art. We learn to see the world in a new way, and in doing so, see something new within ourselves. We can hone skills and learn techniques which are fun and satisfying, but while we are on that journey it isn’t really about the end result; it’s the purity of making something.

If you would like to be involved with Sherborne Arts, please contact info@sherbornearts.org. For more information about courses and events visit sherbornearts.org

@sherborne_arts

___________________________________________ Saturday 4th December Sherborne Arts Open Day Small Hall, Digby Hall, Hound Street DT9 3AA

SMALL PAINTINGS GROUP

26th November – 18th December

JUDITH GARDNER BEACH CLOUDS OIL

JACQUELINE TABER TANGERINES OIL

www.jerramgallery.com

THE JERRAM GALLERY Half Moon Street, Sherborne, 01935 815261 Dorset DT9 3LN info@jerramgallery.com Tuesday – Saturday

Paul Maskell, The Beat and Track

No.4 The Sisters of Mercy: A Gothic Tale

Iwould have been about 17 when I was first introduced to the Sisters of Mercy. It didn’t take long for me to get completely hooked. Drum machine-driven, guitar-laden songs full of dark imagery and mystique with a front man thinner and paler than the Thin White Duke himself. Just what a 17-year-old needs in their music. Formed in Leeds in 1980, a very punk-influenced ethic saw band members Andrew Eldritch (drums and vocals) and Gary Marx (guitar and vocals) record and release a single Damage Done. With the sole intention of being played on the radio the band began to achieve some underground success and soon made the addition of Craig Adams on bass guitar and, most symbolically, that of a drum machine nicknamed ‘Doktor Avalanche’.

With Eldritch taking on writing duties and vocals, the band developed a sound that blended pounding drum rhythms, rumbling bass lines, flowing guitars and baritone vocals. The band released several singles and

EPs between 1980 and 1983, gaining ever-increasing fame in the underground goth scene. 1984 saw the addition of a further guitarist in the guise of one Wayne Hussey, bringing a 12 string and acoustic feel to their sound. This culminated in the recording of the Sisters’ first album First and Last and

Always. This recording raised their profile to such an extent that they were now regulars on the John Peel show and regular subjects of the British music press.

The enigmatic singer, rarely interviewed, proved to be EM_ST.qxp_Layout 1 15/11/2021 13:53 Page 1 the leading force in the band and a man not easy to get on with. This came to a head in 1986 when Wayne Hussey and Craig Adams felt they had no other option but to leave, although this was not to be the end of their troubled relationship.

On leaving the band Hussey and Adams began to perform under the name of The Sisterhood and played tracks that they had written for the next Sisters album. Eldritch felt that the name was far too close to his band’s and was also, in fact, the collective name of the fans community. A polite warning was issued to change their performing name, which was ignored. Legally, there was little Eldritch could do to stop the pair until he realised that legal right to the name and publishing rights thereafter would go to the band that released an album under The Sisterhood name first. Days after this revelation Eldritch released the single Giving Ground under the name of…The Sisterhood. The single immediately reached the top of the independent charts. An album called Gift was released shortly after, forcing Hussey and co. to change their name to The Mission. 1987 saw the release of the next Sisters of Mercy album, Floodland. Taking the flowing guitars of their debut album and layering over keyboards (an influence from the Gift album) and a fifth generation ‘Doktor Avalanche’ they achieved Top 10 positions in the singles charts and a number one in the alternative charts for the album - an achievement in itself as they received very little record company support and didn’t tour the album at all.

The introduction of a new bass player, Tony James

THE FREE WESSEX ARTS AND CULTURE GUIDE EVOLVER MAGAZINE

Pick up your copy every two months at arts venues, galleries, art shops, cafés, libraries and tourist information centres (etc) throughout Dorset, Somerset, East Devon, West Wiltshire, Bristol and Bath Or subscribe online at: evolver.org.uk Instagram: evolvermagazine

(ex Sigue Sigue Sputnik), Tim Brechenio (ex All about Eve) and German guitarist Andreas Bruhn saw the band take a more stripped down rock/guitar orientated sound. This culminated in more chart success for album Vision Thing and all three single releases. The band enjoyed world tours which included some of the major festivals on the world stage. One of these was the headlining of the Reading Festival in 1991 which, embarrassingly, was the first time I saw the band live. The goths were out in full force that day and I remember making my way to the front of the crowd in anticipation of seeing the god-like Andrew Eldritch. I felt rather underdressed in my jeans, t-shirt and boots as I was passed by a couple in full goth regalia including top hat and dress coat and white wedding dress with veil! The band continued to tour and released several compilations over the following three years and also released a reworked version of the Temple of Love featuring Ofra Haza. This single was their highest charting track making it to number three in the British singles chart.

With no new album in the offing and very little record company support, Eldritch continued to tour but effectively the band went on strike with regard to their recording contract. Eldritch and the rest of the band had been completely underwhelmed by the record company’s vision and complete radio silence ensued. Trapped in a contract that required a further album release Eldritch paused for thought in a similar fashion to that of the Gift scenario.

In 1997 a band called SSV released an album called Go figure. SSV were not the Sisters of Mercy. But because it featured music by P. Bellendir with words by T. Schroeder and had sampled vocals by Andrew Eldritch, East West bought the record without even having heard it and agreed to release Eldritch from his recording contract. Unfortunately for East West, their SSV record was Not Very Good - to put it mildly. To date East West have not released the SSV album. Bootlegs have subsequently appeared on the internet which only goes to prove that it was definitely not a Sisters release and, indeed, not very good. Fast forward 23 years and the Sisters are still touring. My brother and I managed to catch them on their only UK date in 2011 in Leamington Spa where I found myself amongst fans that had travelled from Hong Kong just to see the band! They played the classics but also a very healthy array of new songs. To this day the Sisters have still not released a fourth album. They continue to tour and still hold headline spots in many European festivals often playing to crowds in excess of 30,000. The mystique that Andrew Eldritch was so well known for still surrounds him. He lives in Hamburg… or Japan…or Leeds. Who knows? He’s recording the new album, or maybe not. He’s got a new label deal or maybe not. One thing that is certain is that the Sisters of Mercy are still touring, still producing powerful music with lyrics full of oblique sub-texts and tonguein-cheek hedonism.

If history is bound to repeat itself I’m due to see them live again in 2031! I’ll dress appropriately.

thebeatandtrack.co.uk

NOW OPEN

Suppliers of both new and pre-loved vinyl, official t-shirts, merchandise and memorabilia. Come visit and “Try before you buy”. The Beat & Track, The Old Shambles, South Street, Sherborne, DT9 3LN 07730 356719

thebeatandtrack@icloud.com www.thebeatandtrack.co.uk