16 minute read
Art & Culture
ARTIST AT WORK
No.44 Chris Kampf, Small Spiral Fern, 68cm x 40cm x 30cm, oiled steel on oak, £230 (available in several sizes)
Advertisement
Ihave been designing and making sculptures since the 90s. My early work involved cartoon animals welded in steel. While I still weld, I now create an increasing selection of larger-than-life plants. Inspiration from hedgerows and local gardens has led to an array of sculptures including snowdrops, ferns, teasels and grasses.
The majority of orders come via the internet and exhibitions, and have come from as far as the US and Australia. However, I have had several larger projects with councils in Scotland and Lincolnshire. Perth Parks have a ‘forest’ of my cow parsleys and a specially commissioned shell, referred to in local folk law, which contained a large pearl.
Growing Giants public art project is an initiative to install a number of outdoor artworks from several artists, along a footpath in the Isle of Axholme in Lincolnshire to celebrate the unique landscape and heritage of the area. I designed five large plants which were installed this spring. I am currently working on new work for an exhibition at East Lambrook Manor Gardens, starting in July.
Ferns are a true inspiration, particularly this time of year, as they unfurl at some pace.
Chris will be taking part in this year’s Somerset Art Weeks, 24th Sept - 9th Oct
ckgardensculptures.co.uk @chris_kampf
ON FILM
Andy Hastie, Yeovil Cinematheque
And so this month we reach the final film in our 38th season at Cinematheque, a supposed nine-month programme which started full of promise in September 2019. We had some exceptional films booked, membership was on the rise, with a great venue in the Swan Theatre, then, in March 2020 – bang – coronavirus hit, lockdown followed, and everywhere shut. So here we are, just short of three eventful years later, reaching our last film before the summer break.
On 6th July we screen the Danish thriller The Guilty (2018). With a similar format to the earlier Locke (2013), a rather gripping British real-time car journey starring Tom Hardy setting out from a construction site in Birmingham to return to London. He leaves in high spirits, but after 90 minutes and a few phone calls later his life has unravelled to a point where he no longer knows whether he still has a job, a marriage or a future. The whole film takes place inside the car.
The Guilty is claustrophobically filmed with a static camera on the face of Asger Holm, a police officer at a drab emergency services call centre in Copenhagen. A woman, Iben, phones the emergency line and it appears that she has been kidnapped. It soon becomes apparent however, that Asger is dealing with a crime that is far bigger than he first thought, and just a handful of phone conversations turn events into a nerve-shredding unfolding crisis, happening somewhere else entirely. With a music-free soundtrack, it is the brilliantly acted – the details on Asger’s face portraying the horror we can hear but can’t see. This film will not keep you on the edge of your seat – you will be hanging off it, clinging on by your fingertips!
The Guilty won the World Cinema Audience Award at the Sundance Film Festival and was short-listed for Best Foreign Language film at the 91st Academy Awards. We now have the Hollywood remake of course, starring Jake Gyllenhaal, but this is the one to see.
FRANCIS BOWYER ROBERT E. WELLS
24th June – 13th July, 2022
ROBERT E. WELLS COASTGUARDS
Jakob Cedergren as Asger in The Guilty (2018)
‘A flat-out brilliant film’ The Guardian, ‘Superb’ The Observer.
A great film then to finish off the season. Let’s hope that with our new programme of titles to start in September/October everyone will be more relaxed about being in an auditorium with others. We will announce which films have been chosen over the next couple of months, but if you want to find out, or contact us about Cinematheque, do go to our website below. We would love to hear from you.
cinematheque.org.uk swan-theatre.co.uk
___________________________________________ Wednesday 6th July 7.30pm The Guilty (2018) Cinematheque, Swan Theatre, 138 Park St, Yeovil BA20 1QT Members £1, guests £5
FRANCIS BOWYER BY THE FERRY
www.jerramgallery.com
THE JERRAM GALLERY Half Moon Street, Sherborne, 01935 815261 Dorset DT9 3LN info@jerramgallery.com Tuesday – Saturday
CONFESSIONS OF A THEATRE ADDICT
Rosie Cunningham
My Fair Lady is on at the London Coliseum, a magnificent production in an incredibly beautiful setting, first time back on a London stage for twenty-one years. This production is fresh from Broadway where it played to packed audiences who came to listen to ‘real’ English accents. Amara Okereke plays Eliza Doolittle, with an outstanding voice which completely fills the auditorium, to Harry Hadden-Paton’s Henry Higgins, who capers around the stage like a mad professor. Vanessa Redgrave is Henry’s mother and, although rather frail, is strong of voice with a gimlet look and an air of no-nonsense. The costumes are sublime, particularly the hats for the Ascot scene, some of which were towering frothy cakes of confection which looked likely to topple at any moment. Most members of the audience were pretty much word-perfect for many of the big songs, possibly recalling the 1964 film starring Aubrey Hepburn and Rex Harrison. This is a family outing and will not disappoint. It is really worth going early to admire the interior of the Coliseum with its golden chariots and Roman statues and it is a little-known fact that you can book a glorious ‘high tea’ there to enjoy before the performance. On until 27th August.
I went to the Theatre Royal Bath recently with a friend to see Catch Me if You Can, combining a wonderful day of shopping with a matinée performance. Just perfect. This classic Broadway thriller starred Patrick Duffy (yes, he of Dallas fame) and his wife, Linda Purl. The play was entertaining and the twist at the end was completely unexpected but what was most intriguing was Mr. Duffy. He was the only one on stage with a body mic because he rather famously has a soft whispering voice and, as my friend pointed out, wasn’t trained to project his voice like most theatrical performers. I did feel that Mr. Duffy needed a lie down by the end of the play. Theatre Royal Bath does have some excellent plays coming up with the Girl from the North Country, music and lyrics by Bob Dylan, and The Doctor with Juliet Stevenson, both highly recommended.
To Kill a Mockingbird is on at the Gielgud Theatre and is based on Harper Lee’s story of racial injustice, set in Alabama in 1934. The novel has sold over 45 million copies over the 62 years since publication. It is an enduring story that still holds ramifications in today’s world. Rafe Spall plays Atticus Finch, the man who defends Tom Robinson on a charge of rape, and he produces an electrifying and mesmerising performance. The children, Scout, Jem and Dill, are played by adults which at times was a bit off-putting as they galloped around the stage but other minor parts such as Poppy Lee Friar who played Mayella Ewell, the rape victim, were excellent. This is a powerful adaptation by Aaron Sorkin and is one of the best plays on in the West End this year. On until 13th August.
Dorset Art Weeks was an excellent opportunity to get out and about and I found an amazing ceramist called Polly Cazalet who does the most beautiful and unique furled single-flower vases. I found it so hard to choose, that I bought three of them! Do visit her site to have a look.
EM_ST.qxp_Layout 1 19/06/2022 13:19 Page 1 londoncoliseum.org theatreroyal.org.uk gielgudtheatre.co.uk pollycazalet.co
The Electric Broom Cupboard presents OrchardPopfest South Somerset The Monochrome Set • The June Brides • The Chesterfields Helen McCookerybook • The Rhynes • The Leaking Machine • Palooka 5 Saturday 16 July 2022 DJ Johnny Dee • DJ Alan Flint • DJ Andrew Perry
North Down Farm, Crewkerne, TA18 7PL • Gates 12noon, live music from 2pm, curfew 11pm Bar and food • Tickets from Eventbrite: £20 / under 16s free / camping £10
James Budden painting Alex Cree
THE SHERBORNE OPEN ART EXHIBITION
Mark Pender, Sherborne Art Club
After a gap of three years, it is exciting to think that Sherborne’s Open Art Exhibition is happening again. Run by Sherborne Art Club, this well-loved and highly regarded show was last held in 2018 and, indeed, events since then raised fears that it might not take place again. With the previous committee having stepped down and the club itself effectively dormant for three years, the venture has been re-launched this year with the planning, organisation and entries being taken under the wings of Sherborne Arts.
So many people have said how glad they are that the ‘Sherborne Open’ has returned. Those readers who
remember previous shows will know that it was one of the best quality, most prestigious open exhibitions in the West Country, supported by and exhibiting the work of many of the region’s top artists as well as a host of accomplished amateurs and attracting visitors from far afield.
Things have definitely moved on since I found myself chairman of a committee of one after a conversation with ex-chair Sarah White early in 2021 and my most sincere thanks are due to James Budden’s Sherborne Arts for stepping in and providing both support and a framework to get things off the ground. Thanks also to those many people who have now come forward to volunteer their help with hanging, stewarding and other jobs and to those local businesses who have provided their support.
Local solicitors Mogers Drewett have agreed to sponsor the exhibition overall. Their assistance has hugely underpinned our efforts and given us enormous confidence in our endeavour. As part of this sponsorship, they have generously offered to fund £200 to the winner of the main artist prize, the ‘Judges’ Choice’.
We would also very much like to thank the other businesses who are providing a prize for artists and in several cases also providing additional sponsorship. Castle Gardens (The Gardens Group) and Old Barn Framing Gallery have previously been linked to the show and we are pleased to have them with us again, donating the prizes for oils and watercolours respectively. Other prizes come from Charterhouse Auctioneers (dry media – pastel, pencil, chalk etc), The Eastbury Hotel (two prizes for second and third in the Judges’ Choice), estate agents Knight Frank (acrylic and mixed media) and Sherborne Arts themselves (the prize for the work of art voted their favourite by visitors to the show).
The exhibition takes place in the newly refurbished Digby Hall, Hound St, Sherborne from Saturday 23rd to Sunday 31st July and, with the exception of Sunday 31st when it closes at 2pm, is open from 10am to 5pm every day. Admission is free.
At the time of writing, based on the huge interest already shown and on the numbers that we have from 2018, we anticipate exhibiting up to 400 pictures and sculptures and there will also be unframed folio ‘browsers’ for sale. The judges will have a difficult job. Work selected will be chosen for quality but also variety and diversity in all aspects – style, medium, theme and, of course, subject matter, to make an interesting, balanced and attractive whole. Visitors will certainly find something to please them and, with prices set over a large range and hidden bargains in the browsers, there will be something to suit the pockets of all those looking to buy.
Having re-established the show this year, our aim over time is to develop it into something bigger, bolder and yet still true to the huge wealth of artistic talent and ability that exists in Sherborne and its surrounding area. The Open is part of Sherborne’s artistic culture but also the town’s fundamental persona and the objective is for it to be a key part of the regeneration of the town, post-pandemic and post-economic downturn. These are difficult times and with the demise of Artslink and the termination of The Paddock Project, Sherborne’s art scene now deserves some good news. With increased ties to local businesses and an intention as we progress to introduce linked events and activities, in time more of a ‘festival’ approach may be encouraged.
The exhibition is open to all artists to enter, with work being selected by a panel of independent, regionally well-known judges. This year for the first time we are allowing entries to be submitted on handin day, although we are encouraging artists to register online first (through the Sherborne Arts web address below) so that they receive a ‘fast-track service’. That, for example, allows artists’ labels to be printed out and saves them from completing an entry form. We hope this will generate a more exciting and spontaneous entry and maybe encourage a wider and more diverse group of artists. If you are reading this before 16th July there is still time to enter although please make sure the paint has dried before arrival! Full instructions for entry and presentation of work are on the website and we are all too happy to answer any queries and to provide any advice to make submission easy.
If you would like to join the team for an enjoyable time hanging, stewarding or whatever, we always welcome volunteers so please get in touch.
Make a note in your diary. The Sherborne Open Art Exhibition is indeed open again!
For further details and entry instructions visit sherbornearts.org
COUNTER CULTURE
Paul Maskell, The Beat and Track
No.11 The Rise of the Cassette
thenatchdl/Shutterstock
It’s a format that is treated with much derision but is making a steady comeback. No doubt nostalgia is a major factor in the regained popularity of this outdated and long-forgotten format for music. While nowhere near the levels of the vinyl record, cassettes have experienced ever-increasing sales over the past five years. In 2021 over 190,000 cassettes were sold in the UK which is a 20% increase on the previous year.
Introduced in the late 60s/early 70s, the cassette was made as a more mobile compact alternative to the reel-to-reel format and the 8-tracks popular in cars. The cultural explosion for the cassette took place in the late 70s and early 80s with the production of the ‘Boom Box’ and the Sony Walkman. Once systems were able to give good quality stereo sound the popularity of the very portable and compact nature of the cassette grew to become an important support to the vinyl record.
I have memories as a child, no doubt very similar
to yours, of recording the top 40 from the radio on a Sunday night, trying not to catch the DJ speaking. Finger poised over the pause button hoping to produce a recording that could be listened to all week before completing the same ritual the following Sunday and the Sunday after that…
The cassette also gave birth to the mixtape – a collection of your favourite tunes that you would proudly present to a friend (sometimes a girl/boyfriend) either hoping to introduce them to new music that they may like or to subtly declare your undying love for them. I can remember doing both but having far more success with the former. It would be safe to say that my vinyl collection and love for music would not be what it is today without the use of the cassette tape. As much as the common phrase ‘Home taping is killing music’ may have held some truth, this process actually helped encourage me to buy vinyl. My first introduction to Metallica and Anthrax was due to a cassette given to me by my best mate at the time, Dan. This led to me buying Master of Puppets and the whole Metallica back catalogue. Returning the favour I passed him a tape of different sessions that I’d recorded from the John Peel show on Radio 1. Littered with tracks by the likes of Sebadoh, The Fall, The Wedding Present, Ozric Tentacles and Napalm Death, this again aided us in choosing what bands to follow and what vinyl to buy. I still have numerous cassettes of obscure sessions and a large collection of live ‘bootleg’ recordings.
Most popular in the early 90s, bootleg recordings of gigs were sold on cassette either by mail order or an underground network of traders who would appear at markets selling their wares, never to be seen again. It was always a mission to try to obtain live recordings of the gigs that you had been to or obscure recordings of demos previously unreleased. I can remember managing to get hold of live recordings of Nirvana, Sonic Youth, Silverfish and the Sisters of Mercy live from Reading ‘91. I also still have cassettes of Jane’s Addiction from Brixton ‘91 and my first ever gig, Metallica Hammersmith Odeon ‘88. Being able to relive great gigs that you’d been to was quite something back then and only something you could really do with the aid of a bootleg cassette, unless you were lucky enough to have gone to the gig that was recorded and officially released by the band. Nowadays of course you can watch the exact gig you’ve been to on YouTube literally minutes after it has finished but where is the magic in that? The hunt for the correct venue and correct date. The arrival of the small jiffy bag in the post. The anticipation of what the cover would look like. Would it have the set list printed on it? Would you indeed need to make your own cover with the use of magazine cuttings from the NME or Sounds and the faithful Pritt Stick? Would the recording be ‘Audience’ or would the cassette have the magic letters ‘MX’ written on the label to indicate it had been recorded directly from the mixing desk? I guess nostalgia is the magic here. Being able to show someone a collection of tapes that help define your formative years is tangible and can take you straight back to those times. The internet can do the same and more but minus a little bit of the magic.
So to the future. The cassette will never experience the resurgence that the vinyl record has experienced and understandably so. We all remember needing a pencil handy to wind the tape back into the cassette when it attempted to spool out and escape. Bands today are seeing the cassette as a niche release that has a place in today’s environment. They are being made available as limited collector’s items. Different colours. Gig-only releases. Bands also see this format as a viable alternative to the CD and new bands are including the humble cassette as an important addition to their catalogue.
The cost of cassette production and its ease also allows artists to get their music out on an ever-growing medium at a much-reduced cost than that of CD and vinyl. This has resulted in the formation of cassette-only labels that produce limited runs of niche electronica, folk, self-produced indie and everything in between. Exposing music made by great artists that would otherwise never be heard. As with vinyl, they come with their own story, their own artwork, liner notes and their own magic.
The world of music has room for the cassette once more and it’s always got room for magic.
