FRE

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ReviewsDavid Beattie Student Shows The Lions Mane

Arts and Culture of the South East Summer 2009

Altered Images AmiinaScreen TalentJoe Ambrose

MA Film Production & Direction

MA Screenwriting

MA Digital Media

MA Public Advocacy & Activism

MA Film Studies (Film, Culture and Society)

MA Arts Policy & Practice

BA Connect Film Studies

National University of Ireland, Galway. IrelandTel +353 91 495 076, info@filmschool.ie

www.filmschool.ieThe Huston School of Film & Digital Media is supported by Coca-Cola HBC.

02 Editorial03 �News:

Around-upofwhat’sgoingonandcomingupintheculturalarenaintheSouth-eastoverthesummermonths.

06 Prime�Numbers:starttalkstoWaterfordbaseddrumandbasstrioNumber�Theory.

08 �Altered�Images:BrendanMaherreportsonaninnovativetouringexhibitionwhichbeginsinClonmel.

10 �Reel�Teen:David�BannertalkstoNicholas�Sheridan,newlycrownedasIreland’sYoungFilm-makeroftheYear.

13 Lost�In�Thought:William�LyonsdealswiththeheadysubjectofExistentialism.

14 Kurr�Blimey:WehaveshortchatwithKilkenny-boundAmiina

16 �A�Sort�of�Homecoming:Bywaterandland,Joe�Ambrosetravelshome.

18 �Reviews:DavidBeattieattheButlerGallery;WaterfordInstituteofTechnologyandWexfordArtCollegestudentshows;WexfordArtCentre’sanniversaryexhibition;AidanDunneatGarterLane;‘Strands’byTheLion’sMane;KilkennyRhythmandRootsfestivalandmore…

contentsContributorsDavidBannerItaMorrisseySarahRyanJosephKielthyWilliamLyonsJoeAmbrose

PhotographyToddFieldPaddyMcGrathPaoloCabalistiShaneSerrano

Front CoverAmiinabyEgillKaleviKarlsson

Design www.designassociates.ie

Editor BrendanMaher

Theviewsexpressedbyindividualwritersarenotnecessarilythoseofstartmagazine.

startwelcomescontributionsfromwritersintheSouth-Eastarea.Pleasecontacttheeditorinadvance,attheaddressbelow.

startmagazineTheHeritageCentre,MainStreetCashel,Co.TipperaryEmailstartmagazine@eircom.netWeb www.startmagazine.ie

ThankstoallattheHeritageCentreandTownCouncilinCashelfortheirsupport.

startispublishedbystartmagazinelimited©startmagazine2009

Printed by Lionprint,Cashelwww.lionprint.ie

startissupportedbyTheArtsCouncil,SouthTipperaryCountyCouncilandCashelTownCouncil.

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edito

rial

At the launch of Tipperary photographer JohnCrowley’sexhibitionrecently,Isidleduptotwooldphotographichands–oneapressphotographer

forthelocalpaperandtheotheraretiredcameramanwithRTÉandtheywereengagedinwhatinitiallyseemedastrangediscussionaboutstorage.

The storage in question related to howphotographicimagesarenowstored,ornot,asitturnedoutandhowtheongoingrapiddevelopmentsintechnologywereontheonehand,makingiteasiertocreateandstoremoreimagesandontheotherhand,dismantlingandmakingobsolescentthetechnologythatpreviouslycreatedandstoredthem.Takethezipdiscforexample.Icouldsafelysaythatabouttenyearsago,everycompanyinIrelandwouldhaveusedthemtostorefiles.I’msuretoo,ifIlookedinthedeepestrecessesofstart’sfiles,therewillbezipdiscofsomeshapeormegabytesizelurkingaround.I’dbedamnedthoughifIcouldfindthedrivetoactuallyrunthediskorthatIwouldhavethecableingtoattachittomycurrentcomputer.

Forallofus,awholeswatheofstoredmaterialhasbeenleftabandoned,becauseoftheobsolescenceoffloppydisks,zipdrives,compactdiscs(soon)andthat’sonlyinthecomputerarea.It’shappenedinstillandmovingfilmtoo,withthechangingofformatsfromvideotodigitalcdtomemorycardanddvd.It’snotthatthesestoragedeviceshavebecomeunuseableinthemselveseither,it’sjustthatthey’vebeensupersededandtheirhardwarehasbeenremovedfromusealongwiththem,makingtheretrievaloftheirdataafarmoredifficulttask.

Thisprocessofobsolescencehasspeededuptoahugedegreeandhaslessenedourabilityto

archive information or images for retrieval as mytwo photographer friends bemoaned. Despite theadvantagesofdigitalstorage,theybelieveditwouldbebettertostoreimagesinaphysicalmanner,printedandfiledaway,inorderthattheycouldberetreivedinamanualsystem.

ButthenagainthatthrewupthequestionofthephysicalstoragerequiredandIgottoimaginingvastwarehousespiledhighwithboxesofimageswithinthemandnobodywiththetimeor inclinationorperhapsaladdertallenoughtogetatthem.

AndthenIwonderedifweactuallyonlystoredwhatwasof ‘value’ataspecific time in this regardandperhapsitwasgoodandproperthat imagesandinformationweren’tkeptandwerelostinalaissez-fairemanner.Therewasineffectanaturalculloftheseimagesandinformation.Perhapsweareunconsciouslycreatingnew technologies thatwould lose this information –inessencegivingusanexcusetoforget,orevengivinguspermissiontoforget.

I didn’t say any of this aloud, so as notto appear like a complete Philip K. Dick about it,but I guessed that the final equation meant thatstorage=memoryandwithmuchofhumanconsciousnessbuiltonmemory,thephotographerswereconcernedthatwewerelosingthebuildingblocksthatallowedustoretrieveourcollectivememory

Brendan�MaherEditor

�startisnowavailableon-lineatwww.startmagazine.ie

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More winners – this time literature: Ciara�Gorman(14),fromCastleknockinDublinwastheoverallwinneroftheSeanDunneYoung

WritersAwardattherecenteventinWaterford.Herwinforherprosepiece‘Escape’makeshertheyoungestentrantevertohavereceivedtheaward.Luke�SheehanalsofromDublincameinsecondplaceoverallforhispoem‘AlltheQueen’sMen’

KilkennyAnimationcompanyCartoon�Saloon’s�‘The�Secret�of�Kells’hascomeawaywithtwoawards in the last fewweeks. It receivedthe

prestigiousAudienceAwardat theEdinburgh�Film�Festival(withproducerPaulYoungpickinguptheawardfromSeanConnery)andfromtheirpeers,theAudienceAwardattheAnnecy�Animation�Festival inFrance.Go to www.f l ickr.com/photos/edf i lmfest/tags/paulyoung/toseepicsfromEdinburgh

Anúna�performattheBallykeeffe�AmphitheatreinKilkennyattheannualBankHolidayweekendeventonAugust�1st.Anúna’smysticalstylings

allowthegrouptomixclassicalandcelticgenresandtheyhaveworkedwithawiderangeofactssuchasElvisCostello,StingandSineadO’Connorintheirtime.BusesleaveKilkennytownfortheeventanddetailsareavailableonthefollowingsite:www.ballykeeffe.com

Clonmel is to host the International� Film�Festival�IrelandheldinthelovelygroundsandroomsofKnocklofty�House�from6th�-�12th�

September.Films,inaneclecticmixtureofshortsandfeatures,includePhilScapacii’sexperimentalroadmovie‘BlueBus’,BerndRendic’shallicinatory‘WhenSeagullsCryASong’,EileenNelson’s‘AmericanDumpling’andWyattWeed’svampiredrama‘Shadowland’.Moredetailsonthewholeweekfrom:www.amritsa.com/eire/

news

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news

The�New�Ross�Piano�Festival is linedup forSeptember24th-27th.Fiveprize-winningpianistswillperformoveraweekendofconcerts.Included

fromFinlandandKorearespectivelyareAnttiSiiralaand Sunwook Kim who will share the three mainconcertswithArtisticDirector FinghinCollins. TheCallinoQuartetwillperformwithoneofthepianistsat

each concert andwithCollins, play the incredibleSchnittkePianoQuintetatalatenightconcert.ItalianRobertoProsseda’ssolorecitalincludessomerarelyheard works by Mendelssohn. Young Irish pianistSophie Cashell, winner of the BBC Classical Starcompetition,willalsogiveasolorecital.Moreupdatesfrom:www.newrosspianofestival.com

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The�Booley�House�Show isa traditional Irisheventfeaturingmusic,dancingandcaint(fromastoryteller) that runs in St.� Michael’s� Hall,�

Ballyduff inwestWaterfordeveryWednesdayuntilAugust26th.Theninety-minuteshowfeaturesacastofsixtyincludingmanymemberofthelocalComhaltas.Ofcourse,teaandhomemadecakesarealsoavailable.Morenewsfrom:www.thebooleyhouse.com

The�Blackbird�GalleryinWilliamStreetinKilkennyhostsrenownedIrishartistPatrick�Scott’s�‘Works�on�Paper�2002-2009’ fromAugust7th.Scott

trainedasanarchitectandhadhisfirstexhibitionin1944.Hisworkischaracterizedbyhisuseofsquareandcircularmotifsoftenwiththeinclusionofgoldleafinthepieces.HewasconferredwiththetitleofSaoiinAosdanain2007.Thisexhibitiongivesanopportunitytoseehismostrecentworks.Moreinformationfromthegallery:www.theblackbirdgallery.com

Music� for� Wexford brings Gillian Williams(violin), Arun Rao (cello) and ElizavetaBlummena(piano)toperformonFriday,25th

September.ThetriowillplayworksbyDonizetti,Britten,Brahms,SchumannandDeane.VenueisSt.�Iberius�Churchinthecentreofthetown.Moredetailsfrom:www.musicforwexford.ie

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news

Heritage�Weekrunsfromthe�22nd�to�the�30th�of�Augustthisyear,witheventstakingplaceallovertheregionandcountry.WilliamCummings,

the Senior Conservation Architect in the Dept. ofEnvironmentgivesalectureatSt.Patrick’sCollegeinCarlowon27thAugustdealingwithhowstructuresareassessed and rated for preservation. The event isorganisedbyCarlowHistorical&ArchaeologicalSociety.More information on Heritage Week events atwww.heritageweek.ie

Composer Eric� Sweeney will accompany, onorgan,ascreeningofthefilmversionof‘The�Phantom�of�the�Opera’onFriday31st�July��

2009inWaterford�Cathedral.Notwithstandingthefactthatstartlovesthisnaturalmixofartforms,wealsolookforward togettingagood lookat this1925classicdirectedbyRupertJulianandstaringLonChaneySnrandMaryPhilbin.Ticketsare€12.Earlybookingisadvisable–attheCathedralgiftshoporbycalling051858958

Potter Jack� Doherty exhibits at the Crafts�Council�GalleryinKilkennyfrom8th�August�to� 27th� October. Doher ty is one of the

most respected ceramicists in theUKand is LeadPotter at the Leach Pottery in St Ives, Cornwall,

therefurbishedformerstudiooftheiconiccraftsmanBernardLeach.OnFriday,the7thAugusttherewillbeaone-dayworkshopwithDoherty.Gotowww.ccoi.iefortheexhibitionandemail:byrnetina@hotmail.comfortheworkshop

Castlecomer�Discovery�Park,Co.KilkennyhasitsOpen�DayonAugust�3rd.Theestateofover�0kmofwoodhasanumberofinteractive

elementsforthefamilybutalsoincludesastablesandfamyardbuildingswhichhousecraftspeopleandartistswhosellfromtheirworkshops.Craftsincludepottery(HilaryJenkinsonatCrannmor),jewellery(CarlParker),painting(RossStewart),aswellastextiles,millinery,photographyandfurniturerestoration.Theopendayis a good oppor tunit y to have a look. Go towww.discoverypark.ieformoreinformation

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Start: It’s difficult to say how many are in the band. Could you name the members please?Simon:Therearethreeofus:Amyonvocals;Botaonbassandprogramming;andmeonguitar,bass,andprogrammingBota: And the laptop ‘Lahey’.When did you begin making music as ‘Number Theory’?Aboutthreeyearsagothethreeofuswereinabandcalled‘SimonSays’playingjazzandfunkversionsofwellknownsongswithadrummernamedDaveDuffy.WestoppeddoingtheSimonSaysstuffafterayearorsoasDaveandBotawereconcentratingonanotherbandcalled‘Goat’.WhenGoatdisbandedthefourofusdecidedthatwewantedtostartdoingoriginalmusicandbeginincludingprogrammingandelectronics.ThefinalstepcamewhenDavedecidedhewouldn’tbeabletoplaywithusanymore;atthetimewealreadyhadacoupleofgigslinedupandhadnooptionbuttobeginprogramminglikecrazy.It worked out pretty well as the laptop keeps good time, knows the song and has volume controls.

It’s obvious that you have been inspired by the likes of Aphex Twin, Portishead etc., but have you been in bands of other genre’s before, or considered making other sorts of music?

IstudiedjazzforfouryearsincollegesoI’veplayedinquiteafewjazzgroupsovertheyearsandI’vealsoplayedinanumberofdifferentmusicalsaroundWaterford.I’veabsolutelynopatiencesoItendtogetboredofthingsveryquicklywhichmeansIwanttodosomethingnewprettymucheveryweek.I satisfy my cravings to continuously make noise through some side projects, alone as Molotov Ape and in collaboration with my friend Le Haine as Anti. Anti have just remixed every band from Waterford and are releasing several tunes a month over the summer which will culminate in a big gig for the Intravenous Music Exhibition in October.

So, what equipment do you use? There are some pretty great, layered and complicated beats in there and I’m interested to hear how you make them…AlotofthebeatsandsynthsarecreatedinReason(music software-Ed),everythingelsecomesfromAbleton(as above-Ed)andwesequenceitallinAbletontoo.Thelayeringisjustasimplewayofcreatingdrumpatternswhichextendovermanybars;forexampleifyou’vegotyourbasic4/4drumbeatandyouputanothersnarepatternin5overthatyou’vegota5barloop,ifyouthenputanothersimplepatternin7overthetopitwon’trepeatfor�5bars.It’sanideaIstolestraightfromMessiaen,althoughheuseditinaslightlymoresophisticatedway...

WaterfordbandNumber�Theorytakeusthroughtheirelectronicworldandintroducetheirnewe.p.

PrimeNumbers

Interview:�Joseph�Kielthy

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I’m interested in the sounds of malfunctioning machines. I have a lot of time on my hands and I’m a bit obsessed.

It must be tough to take this intense and atmospheric music to a live setting. Do you enjoy playing shows or do you feel your music works best on record? Also as I presume you use drum loops live; is this troublesome?Ithinkthebiggesttroublewehaveisthefactthatonlyoneortwoofourtunesarein4/4,andifwecan’thearthetracksfromthelaptopwhenwe’replayinglive,we’refucked!Playingliveisweird,youcan’texpectpeopletoinstantlyclickwithyourmusiconafirsthearingbutit’sstillabitdishearteningiftheydon’t.Ontheotherhandwhenagiggoeswellit’sgreatandfeelssoeasy.Idon’tknowifwesoundbetteronrecordthanlive–maybewedobutI’malwaysembarrassedlisteningtomyselfplayingsoIdon’tknow.It is a good challenge to try to play the tunes live, and it helps us spot flaws or bits we don’t like with them. We are hoping to start trying some different things for the next series of gigs and improve the audio and visual side of things.

How do you find being from a relatively small place such as Waterford with regards to getting recognition and gigs?Well myself and Bota are actually from Kildare andAmy’sfromCanadasowe’reallverymuchoutsiderstothe“Waterfordmusicscene”.Thereisn’treallyanywhereinWaterfordtoplaygigs–we’veplayedTheCandlelightSessionsatPhilGrimesquiteafewtimeswhichisjustabeautifulroomtoplayin.Thesoundisgreatbutotherthanthatwe’veverymuchjustbeenlookingforstuffoutsideofWaterford,whichhasbeengoingwell.Butitdoesmeanyou’replayingtoabrandnewcrowdeachtime...There’s not a massive audience for 11/8 drum and bass and as Simon said earlier it’s not something that clicks with everyone immediately so getting gigs can be tricky, but we’ve been doing alright recently oddly enough. The internet has been good to us, and while we are still an insignificant blip on the radar we’ve met lots of good people and had some great experiences through getting the tunes uploaded and being offered gigs.

What do you think of the music scene in the South East as a whole? Do you think that a “scene” exists?TobehonestIthinkit’sveryimpressivethattherearesomanybandsinWaterfordbutIdon’treallyconsideritamusicscene.AsIalreadysaidthere’snowheretoplay,andwhentherearegigsonyouneverknowwhetherpeoplearegoingtoturnupornot.PrettymucheveryoneinvolvedinmusicinWaterfordarefriendswitheachother.

Whilethisisgreatinonesense,asanoutsideryoucanseethatthewholethingisabitstalebecauseit’salwaysthesamepeopleatgigs.There are some really high quality musicians around the area though such as Peter Vogelaar, Le Haine, Dylan Bible, Katie Kim, Mark Dudley and Jazz Panda from Kilkenny.

The recordings on myspace sound really great; the quality of the recording is phenomenal and really helps create an atmospheric and almost creepy feel to the tracks. How did you record them?ThetunesareallrecordedinBotaandAmy’shouse(theaudiotoir)throughafirewiremixerandintohislaptop.I’malwaysirritatedbypeoplewhopayloadsofmoneyforrecordingtime(mostlybecauseI’mbroke)withouthavingmadeanameforthemselvesyet.Ialwaysthinkpeoplewouldbemuchbetterservedbuyingnewgearorfinancingaseriesofgigs.Thanks very much, we must have pressed the right button at some stage. We have a new batch of tunes almost ready for our second EP ‘Dysrhythmia’ and I think the production has come on a bit as we figure out what we’re doing. There’s a long way to go yet though...

How does the song writing process work for you? Is there a set way in which you write songs or does it vary?Mostofthesongsbeginas either somethingonguitarorbassandjustexpandfromthere,although of late wehave been star tingwith the electronicsfirst.Ithinkthevocalsareprettymuchalwaysthelastthingtogoon,withBotawritingthelyricsandmyselfandAmy comingupwiththe melodies andphrasing.Eachsongiskindofgivenitsownform,whichwasn’texactlyapre-plannedconceptbutcameaboutbecauseofthenatureofthesongs.We’reverymuchdemocraticinhowwewritethesongs.I think we are finding our feet now after a year of doing things. Ideas form and develop in slightly different ways and we’ve a better understanding of what we like the sound of, so it’s becoming quite interesting

www.myspace.com/numbertheoryband

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Aproject bySouth Tipperary andMayoCountyCouncilsinconjunctionwiththeIrishMuseumofModernArt,Altered Imagesbringstogetherwork

bysevenartistsincludingnewlycommissionedpieces,withthespecificintentionofexpandingtheopportunityofalltointeractwithanexhibition.

This‘multi-sensory’approachhasitsbasisinusingworksfromtheorganisersexistingcollectionsandhavingthemre-interpretedbyTopografik,acompanywhospecialiseincreatinginteractiveinstallationsforthosewithdisability.Inrelationtotheshow,sculptorLozSimpsonfromTopografik,deservesmuchcreditashecraftedthevarioustactilepieces,madefromavarietyofmaterials,marble,metalandmarmoleumamongstothers.

TheoriginalworksbyThomasBrezing,AliceMaher,DavidCreedon,DaphneWright,CarolineMcCarthyandAbigailO’Brien,alltwo-dimensionalworksaretranslatedbySimpsonintoreliefpieceswiththenewmarmoleum/linopiecesbasedonBrezing’sworkandtheretranslationofWright’svideomusingonapieceofsculpturebothworkingespeciallywell.

Wright’s piece ‘Plura’, a close -up of aclassicalsculptureset toasoundtrackofphoneticsoundsvoicedbyolderadults,isamovingpiecethatsuggeststheinabilitytocommunicateasmemoriesinoldagebecomefragmented.

Wrightsays:“I’dseenthissmallclassicalsculptureinBathinEnglandandwasinterestedinitforthedetailandsuggestivenessoftheworkitselfratherthan themyth itdepicted.We filmed it inclose-up,sotherewasnobackgroundevidentandnocontextto thepiece. In relation to thesoundsused, Iwasinterestedinphonicsandhowchildrenlearntoreadbyvoicingtheindividuallettersofthealphabettomakewords.It’slikeamagickeybutthechildlearnswithoutunderstandingorcontext.Usingolderpeople’svoicesinthepiecereflectstheideaofdeteriorationofmemoryasthevoicesareusingphonicsagain,asiftheabilitytouselanguagehasbeenlost.Thesoundsprovidetheemotionforthepiece.”

For the exhibi t ion, the f i lm p iece isreconfiguredinthreedimensionsinaseriesofpanels

Brendan�Maherreportsonastrikingmixofmediaatthe‘AlteredImages’exhibitioninSouthTipperaryCountyMuseum

‘Plura’ Daphne Wright. 2008 – 09. DVD. Collection South Tipperary Arts ServiceCommission, 2008 – 2009.© Daphne Wright

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setinarevolving‘magiclantern’typehexagonalshapewithalliedsoundsprovidedonheadphones.Swatchesorframesofthemovingimagearerecapturedinmarblewitheachpanelfragmentagaindisallowingthepersontouchingthepieceanyoverallcontext.

PerformanceartistAmandaCoogancontributesacommissionedfilmpiece‘SevenSteps’whichdiscussescontemporaryart,viatheworksincludedintheexhibition,throughsignlanguageandperformance.MoredifficulttotranslateisthevisualjokeinherentinCarolineMcCarthy’s‘TheLuncheon’–apublicfavouriteoftheIMMAcollectionandrecentlyonviewinWexford–alargescalephotographofatableoffood,reminiscentof17thCenturystill-life,butmadefromcolouredtoiletpaper.Thedigestivetransitisturnedonit’sheadwiththedirectlinkingofthetoiletpaperandfood.Butthisisaconceptrelatedbyvisualeffectprimarilyandwhentranslatedintoametalrelief,tendstoloseit’sinherentvalue.

ThomasBrezing’stwooilpaintingshowever,workwellinlinoleum,withSimpsonemployingacollageeffectoflayeringthecutsheetsoflino,buildingupnew

topographicalimagessomewhatakintocontourlines.This ideaof remapping the image linksstrongly thenotionsofdisplacementwhichareatthecoreoftheworkofthisGermanartistlivinginIreland.

FollowingheropeningoftheexhibitioninJune,ArtsCouncilDirectorMaryCloakespokeoftheproject

“notcompromisingonstandardsofartisticquality,curationandpresentation.”Withthecurrenteconomicbackdrop,shepointedouthowtheartsthroughsuchanexhibition,cangivea lead to the relaunchingorkickstartingofbroaderactivitybyshowingtheinventivenessandtheskillsofcollaborationevidentintheproject.

Essentiallytheexhibitionworksastestamenttotheartist’swork,theirwillingnesstoreinterrogatetheworktobroadenit’svisuallanguageandthesuccessofthetechnologicalapplicationtoachievethatexpansionoflanguage.

Altered Images runs until at the South Tipperary County Museum, Mick Delahunty Square, Clonmel until August 5thMore information: www.alteredimages.ie

‘The Snail Chronicles (Double Drawing)’ Alice Maher. 2005.Intaglio print, 53 x 49.5cm.Collection South Tipperary County Council. Purchase, 2008. © Alice Maher

‘Seven Steps’ Amanda Coogan. 2009Film work. Dimensions variable. Commission, IMMA, South Tipperary County Council, Mayo County Council. 2009. © Amanda Coogan

David�Banner

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start: You recently won the title of Ireland’s young film-maker of the Year at the 2009 Fresh Film Festival. Can you tell me about your film ‘The Grim Trials of Vida Novac’?Nicholas Sheridan:Thefilmis,Ithink,aprogressionthatI’vemadebothintermsofstory-tellingandfilm-making. When I look back on my other two films,‘Revelations’and‘TheGoldenCrucifix’,Icandefinitelyseeaprogression.

The film centres around a single motherwhocomestoIrelandasanimmigrantfromtheCzechRepublic,anditbasicallytellsthestoryofherstruggletofitintothecountry,andtrytomakeitahomeforheryoungson,Abir.Shehastoovercomemanyproblemsandobstacles.It’saveryhumanstory.

ThetitleisprettypretentiousIsuppose,butI liketospendalotoftimethinkingabouttitles,andtryingtomakethemstandoutandonthisfilmIcertainlypushedthattothelimit!It’sdefinitelymyfavourite.

How did you shoot the film? What crew did you use and how long did it take to shoot it?Itwasafairlylowbudgetshoot,“nobudget”wouldbemoreappropriate,Ithink.IreceivedagrantfromtheDioceseofFernsjustbeforeIstartedmakingthefilm,sothathelpedagreatdealandIconcentratedonmakingthetechnicalsideofthefilmmorepracticed.

Technicalskillandpoorequipmentarewhatletdownalotofyoungfilm-makers,includingmyself!Thecrewconsistedofmyself,andbasicallywhoevercouldmakeittotheshoot.Brothersofactorsandmothersofactorsandallsorts.It’sveryintenseandnerve-wracking,butthere’sagreatsenseofcommunityonafilmlikethat.Everyoneknowseveryonesoit’snice.

Iwasextraordinarilyluckywhilecastingthisfilm.Themainactressinthefilm,MaireadRyan,hasbeenverysuccessfulontheAmateurDramaCircuitandassheworkswithmydad,shewastheidealchoice.IwasveryluckywithotheryoungactorssuchasJoeMahonandEvaFarrellaswell.It’sbrilliantwhenyoucangiveperformersascriptandtheycanmakethecharacterscometolife.It’saveryfulfillingexperienceandeveryonethrewthemselvesin100%.

You worked previously with Wexford artist Michael Fortune on a film. What was that like?Mickwasthefacilitatorofseveralfilm-makingcoursesinwhichItookpart,andwasahugeinfluence.WithoutMickandthesecourses,Icertainlywouldn’thavethisinterestinfilmthatIhave.Mickisverygenerouswithhisadviceandtimeandit’sgreattohavesomeonelikethatwhowillhelpyou.MickalsoputmeintouchwithTerenceWhite,afilm-makerwhorunsReelNewRoss,aprojectbasedhereinWexford.Terenceisagreatguytoo,verygenerousandhonest.They’rebothverycoolguys.

Tell me about your film heroes, what films you like? How do they influence your work?Allthreeofmyfilmssofarhavebeenhuman-intereststories,andthat’sthegenreIfeelmostcomfortablein.IthinkIamdrawntofilmbasedonrealism,indiefilmsifyoulike;‘LittleMissSunshine’,‘ThisIsEngland’and‘Once’aresomeofmyfavouritefilms.NotthatIdon’tenjoyagoodcomedy,butthey’refewandfar-betweenIthink,nowadays!

Intermsoffilmheroes,Ihaveahugerespectforthewritersintheindustry,whodon’tgetthecreditorrespectwhichIthinktheydeserve.Ofcourse,peoplelike

Seventeenyear-oldWexfordyouthNicholas�SheridanisIreland’sYoungFilmmakeroftheYear.HerehetellsDavid�BannerhowhewontheAward.

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Phot

ogra

ph: S

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Ser

rano

ShaneMeadowsandJohnCarneywriteanddirecttheirownwork,butIthinkmorecreditneedstobegiventothewritersofthefilm.Directorstellthestory,butwriterscreateit,andIthinkthat’simportant.

There’snothingbetterthanagoodpieceofmusicplayedattherighttimeinafilmandIlovedoingit.Tarantino,Ithink,hasmasteredthisparticularskill.It’shard,Isuppose,nottoimitatecertaindirector’sstyles,butthere’snoparticulardirectorthat Iwouldtryandcopy.

I understand you met Choi Min-Sik the actor from ‘Oldboy’ in Korea with Fresh last year. What was that like?Korea,onthewhole,wasabrilliantexperience.I’llneverforgetit,andallcreditgoestotheFreshFilmFestivaldown inLimerick,withoutwhich,all young Irish film-makerswouldbe lost.Respecttothem!ItwasgreattomeetsuchpeopleasIlmarRagg,andChoiMin-Sikfrom‘Oldboy’,andofcourseotheryoungpeoplewholovefilm.Twooftheguyswhowerewithus,LaurenceandKevinwerereallyexcitedtomeetthis‘Oldboy’actor.Imyselfhaven’tseenthefilm!Buthehadgreatadviceandstoriesanditwasclearwewereinthepresenceofanexperiencedperformer.Itwasgreat!

I hear that you have also been working with the Young Irish Film-makers in Kilkenny on script development. How did this come about and what exactly are you doing?

I was at the Fresh Film Festival earlier in the year,andDarraghByrne fromtheYoung IrishFilm-Makerscontactedmesoonafterandsaidhehadenjoyed‘…Vida…’andaskedifIwouldcomeupforascriptmeeting,astheywerestartingtoplantheirsummerfeaturefilm.Iwentupandmetalltheguysandwebashedaroundafewideasbeforesettlingonone,andnowtheguyshavewrittenadraftscript.I’mlookingforwardtoreadingitandseeingwhatthey’vegot.They’reagoodgroupupthere,veryenergetic.Thefilmisshootinglaterthissummerandyouneverknow,Imightgoupandseetheminaction.

What are your plans at present? Are you making any films at the moment or do you intend to go to film college in the future?I’mslightlydubiousaboutfilmcollegeatthemoment,I don’twant topigeon-holemyself intoanything toonarrow,soIhopetodoabroadcoursetostartwith.IhaveanotheryeartoworryaboutitbutIdohavesomepossibilities inmymind. Iwould love towork in filmortelevision.

Asforanotherfilm,Iamplayingaroundwithafewideasatthemoment,whichhopefullywillhaveahigherproductionquality.It’dbegreattotrysomethingdifferentstoryline-wiseandIdohaveacertainfreedomnow, as I’m not making a f ilm for any par ticularcompetition.Icanexperiment,whichIthinkisaveryhealthythingtodo

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‘The Grim Trials of Vida Novac’

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Whiletherewereprecursors,towhomhealwaysmadedueacknowledgement–Kierkegaard,NietzscheandHeidegger–thephilosophical

movementcalled‘Existentialism’reacheditsmaturityonlyattheendofWW2withJean-PaulSartre'snowfamousaddress,“L’Existentialismeestunhumanisme”, toapackedaudienceintheClubMaintenantinParisin1946.Inthecourseofthatmanifesto,Sartresaid“EverythingisindeedpermittedifGoddoesnotexist,andmanisinconsequenceforlorn,forhecannotfindanythingtodependuponeitherwithinoroutsidehimself.Hediscoversforthwiththatheiswithoutexcuse.Forifindeedexistenceprecedesessence,onewillneverbeabletoexplainone’sactionsbyreferencetoagivenandspecifichumannature;inotherwordsthereisnodeterminism–manisfree,manisfreedom…ThatiswhatImeanwhenIsaythatmaniscondemnedtobefree.Condemned,becausehedidnotcreatehimself,yetisneverthelessatliberty,andfromthemomentheisthrownintotheworldheisresponsibleforeverythinghedoes.”

Sartrewas tellinghisaudience that,since“existence precedes essence”, we humans are notshackledbyanypredeterminednatureordestinybutmustcontinuallycreateourselvesashumansthroughtheconsciouschoiceswemakeeachday,rationallybutwithoutguidelines.“Manisthefutureofman”.If,ontheotherhand,ahumanliveshislifewitheyesavertedandearspluggedorlivesapredeterminedroleinaccordancewithsomecustomorfashionorcreedorideology,thenheorsheislivinganinauthenticexistencethatinvolvesabetrayaloftheirhumanity.Withsuchabetrayal,Sartreasserts,webecomelikeanobjectwhichhasitsexistencealreadymappedout,alreadypredetermined,displayingonlyreactionsnotactions,andsohavingitsexistenceen-soi(initself).Tobehuman,ontheotherhand,wemustateachmomentmakeandremakeourselvesaccordingtoourownvisionandthroughourunfetteredchoices,and therebyexhibitanexistencepour-soi (for itself).Inshouldering the frighteningburdenof livingaright,

weourselvescreate,withourchoices,thevaluesandstandardsofourmorality,politicallifeandart.Sinceweare,asSartreputsit,withoutourpermission,flungintoaworldnotofourmaking,withoutguidelinesandwiththeonlyendinsightasentenceofcertaindeathwithoutanypossibilityofreprieve,weneedgreatcouragetoliveauthentically.Yetitisuptoustocreatemeaninginourlivesagainstthebackgroundofanabsurdnihilistworld.

SartreincarnatedhisownphilosophylikenootherphilosophersinceSocrates.Hepractisedwhathepreached.HeplayedonlyaminorpartintheFrenchResistanceduringWW2,asawriteranddisseminatorofpamphlets,buthewasnocollaborator.Indeedforthewholeofhislife,herefusedtocollaboratewithwhathethoughtofastheinauthenticbourgeoisexistencearoundhim.Helivedmuchofhislifeinrentedapartmentsorhotelrooms,andhadlittleornopersonalpossessions.Afterashortperiodasaschool-teacher,hedeclinedalloffersofapermanentacademicpostandlivedinsteadbyhiswriting.Hisstudy,whereheproducednotmerelynotablephilosophicalstudies,suchasBeing and Nothingness,butalsohisgreatplaysandnovels,wasoneorotherofthecafésofleft-bankPariswhereheatehismeals.Uninterestedinwealthhegavemostofhismoneyawaytohislovers,friendsandhangers-on.Herefusedallhonours,including theNobel Prize, the Légion d’Honneur andmembershipoftheAcadémie Francaise.Yet,whilerefusingtogetmarriedandformingmanypassionateliaisons,heremainedallhislifethelovingcompanionoftheothergreatExistentialistofthatperiod,SimonedeBeauvoir,author,amongothertexts,ofthefeministclassicThe Second SexandthatmovingtributetohermotherA Very Easy Death.Neverafraidtovoicehissupportforthosesetuponbyoppressivegovernments,SartresupportedtheAlgeriansintheirfightagainsttheirFrenchcolonialoccupiersandsurvivedaresultingassassinationattempt,supportedtheVietnameseagainsttheirAmericanimperialistinvaders,andinMay1968joinedthestudentsprotestingagainsttheFrenchGovernment.When,becauseofhissupportforAlgerianindependence,hewasthreatenedwitharrestand imprisonment for treason,PresidentCharlesdeGaulle,comparingSartrewithanotherfamousFrenchphilosophicalgadfly,declared,“Youdon’tarrestVoltaire”.

Forbeingagreatwriterandthinkerbutaboveall for living authentically the existentialist life hedescribedsopassionately,Sartrewaslovedandadored.Morethan50,000peopleattendedhisfuneralin1980.Hisashesarenowburied,nexttothoseofSimonedeBeauvoir,intheCimetiéredeMontparnasseinParis,andasmall citysquare,nearSartre’sapartment inRueBonaparte,hasbeenrenamedPlaceSartre-Beauvoir

William�LyonspondersontheperennialappealofExistentialism.

Philosophy

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Joe�Ambrose’s�Diary

Ihaveto,reluctantly, leaveMarrakeshbehindforawhilebecauseitdawnsonmethatI’vebeendowntheresolongthatI’veletthingsslipinLondon.While

onecandomanythingsontheInternet,youcan’tcollectmoneyyou’reowedbysendingpeopleemails.Itrequiresamorehandsonapproach.

Similarly,despitethefactthatwriting isaprofessionwhich,mostofthetime,I’verecentlypracticedonacomputeronthefringesoftheSahara,youneedtocometoamediatownifyouwanttogetnewcontractsandmeetpeoplewho’lladvanceone’scauseinavarietyofways.Soafterdrifting throughMarrakeshairport,aroundwhicharenicestylishapartmentsavailablefor€�0,000,IgetonaRyanairplane.AfterabumpyflightI’mbackinLondonwhereeverythingisbumpy;lotsofcrapshopshavegonetothewall,and itsdifficult tocollectmoneyowed,getbookcontracts,ormeetwiththepeopleIwanttomeet.

***

ApublisherI’vebeentalkingtofortwelvemonthsaboutabookproject,apublisherI’dliketobepublishedbyandwhohavemoreorlesssaidthatthey’dliketopublishme,finallydecidethattheycan’tdothebookbecauseoftheeconomicclimate.They’renownotplanningtodoanynewbooksthisyear,merelyafewpaperbacksoftitles

theybroughtoutinhardbackpreviously.Thisisabitofablowbecausetheworkinquestionisanichepieceofproductthatwasidealforthiscompany.TheyspecialiseinArabandIslamicinterestbookswithrelativelypopularappeal.Ican’tthinkofanotherpublishinghousethatmightbe interested inmyproject. Thereare lotsofpublishersdoingArab/Islamicrelatedtitles,butmostofthemareprettystuffyoracademicordisinclinedtopublishbooksbywhatMoroccanscallanIshranee,whichmeansaChristianbutbywhichtheymeanaforeigner.Luckilymyideaismerelythat;I’venotputpentopaperyetand,withthisbadnews,myideagoesintoadigitaldrawerwhereitmustrestuntilthingsgetbetterorIworkoutanotherangle.

***

IhaveameetinginNottingHillwithaputativenewliteraryagent.IfirstcameacrosshimaboutsevenyearsagowhenIhadashortstorypublishedinananthologyputoutbythepublishersthatheworkedforasasenioreditor.Theywere,andare,oneofthebiggestUKpublishingfirms.AtthattimeheapproachedmeandaskedifIhadanovelhecouldlookat.Ididn’thaveanythingsuitableand,whenIeventuallydidgotbacktohim,he’dquithisjobtosethimselfupasanagent.Ireadinthetradepressthathisresignationcameasasurprisetothe

asortofhomecoming

start�16

entireindustryasitwaspredictedthathewasabouttobeappointedCEOofthecompany.

Hejustgotapalofmineadealwithamajorconglomeratewhichhas resulted inmypalwritingahardbackbiographyofayoungrockstarwhoseworkIholdincontempt.Neverthelessit’sarealbookwitharealpublisherand,giventheindie/intellectualcachetthatthesuperstarinquestionenjoys,itshoulddowell.

WemeetattheRecordandTapeExchange’sbookshopandgoforacoffeenearby.Allourpreviousdealingshadbeenbyemail; this isour first face-to-faceencounter.Heis,asI’dbeenadvisedbymypal,anexceptionallypleasantfellow.HelikestheideaforanovelthatIpitchtohim,Hollywoodmoviestyle,andmentionseditorsatthreefirmswhoselistsI’dlovetobepartofwhoshouldbeinterestedinmyidea.HewarnsthattheindustryisgoingthroughitsmostconservativephaserightnowandsaysthatI’mgoingtohavetowriteanextractfromthebooksothathecangoselltheidea.

“Howlongshouldtheextractbe?”Iaskhim.“Howlongisapieceofstring?”hesays.“A

fewthousandwordsatleast.”“Should I write a few chapters at various

stagesinthenovel?”“No,”headvisessagely,“writethestartofthe

book,enoughtogivepeopleagoodfeelforwhatyou’retryingtodo.Enoughtomakethemseewhatsortofabookitwillbe.”

Iundertake that I’llget thisextract tohimwithinamonthandIdecidetogotoIrelandtostartworkonthis.

***

AnIrishfriendhadmentionedtomethatonecouldsimplyshowupatEustonStationand,for£29,purchaseatrainandferryonewaytickettoDublin.Idecidetodothis.

I’venottakenthisroutesincemyearliestdaysinEngland.ThetrainisfullofthesedisenfranchisedIrishemigrant types forwhomtimehasstoodstill.They’restillstrandedback in thatBigTom/LarryCunninghamworldwhichdoesn’texistanymorebeyondtheconfinesoftheageingLondonIrish.ThesejokerswerethickonthegroundwhenIfirstmovedtoLondontwentyyearsago.Theyrepresentedanembarrasmenttotheartschool/punkrockIrishcrowdwhomovedintoLondoninthelate80s,acliquethatIwaspartof.IguessIhavealittlemoresympathyforthemnow,beingoldermyself,butpartofmestillseesthemasasortofnationaldisgrace.PerhapsthisisanunworthynotionbutIfeelsorryforthefamiliesthey'regoinghometovisitinacountrywhichhasmovedon.

***

I reachDublin at7.00a.m. Iwalk upawonderfullydesertedGraftonStreetandInotethemanyemptyshopunits.At8.00a.m.IgointoBewleysforarestorativecoffeeandtheytry tochargemea€10.00minimumcharge.Aftera fractiousconversation I leave€�.00onthecounterandwalkout.It’sbecauseofthiskindofgangsteroverchargingthatIdislikemodernIreland.Capitalistsherearesohungryformoneythatthey’vekilledthegoosethatlaidthegoldenegg.Theydeservewhat theyget.Themiddle incomeandworkingclasspeoplewho’resuffering themostdon’t deserve thecountlessmini-tragediesthey'regoingthrougheveryday.

AfteraweekI’vedonethegroundworkonmynovelextract.NowI’mtravelingagain.I’mheadingbacktoMoroccotofinishthisworkinaroominaTangierhotelroomwhereJackKerouacstayedwhenhewenttoMoroccotovisitWilliamBurroughsandtodosomeworkforhim.I’mnoKerouacfanbutthisroomisagreatoneforwritingin

www.joeambrose.net

start�17

VisualArt

reviews

Four Artists presentedwork at the ‘Inside�Out’Exhibition(May/June)inGarterLaneArtsCentrein Waterford. Dolores Lyne’s landscapes were

themoretraditionalofthefour,butthatdidn’tstoptheartistfromincludinginterestingaspectswithinthepiecesparticularlythehieroglyphic-typemarkingsofthetwo‘ReedNotesatBallyquirke’ortheeerieisolationcreatedbytheindividualrocksinthe‘LakeboundRocks’set.ThatsenseofisolationwasaddedtobyDeclanBreen’sfivestationssculptures.Theseweresmallscalescenarioscreatedinplaster(ostensiblyrelatedtothestationsofthecross)withindividualfiguresstandingindifferentareasofarchitecturalformations.PerhapswithanodtowardsAntonioni,thesepieceswerehighonasortofexistentialistdrama,withtheadditionaldiscernmentofvariouswashesofcolour-blue,greenetc.–differentiatingthepiecessomewhat.

Youknowanartist isambitiouswhentheyhavereducedtheirnametoasinglesurname,wellinadvanceoftheoutsideworlddoingit.HoweverCody’sgraphicsandlogosdidbearanindividualsignature.Thismayberelatedtoscale,astheworksrestsomewhatoutoftheworldofgraphicdesignwheretheywouldnaturallyexist.ThepiecesarehipsignsandsymbolsrelatedtoManhattan,threefigurativelybasedandfourothershard-edgeworks,notintheCecilKingveinbutinareductionist

graphic.The‘Liberty’piece–thefamousstatue’scrowndepictedonit’sownorthestairsofthe‘Tribeca’pieceworkwellwithintheirownsimplicityandtheuseofcolouriseffectivethroughout.KathleenDelaney’scanvasesusedasetcolourpaletteforherseriesofidiosyncraticimages of dresses. Each dress has a purpose, ape r sona l i t y o r even a s to r y to te l l . T he rewasabaroquerichnessaboutthepieces,likeoverripefruitfallingfromthecanvas,anotionofdramawithinthepieceswithadditionalbackgroundimages/symbolsofcagedbirds, crossshapesandascissorsaddingasinisteraspecttothework.Dressesof‘Decay’,‘FireandWater’,and‘Tears’tellofconstraintanddespairunderapatinaofglamour-theseworkswouldspontaneouslycombustsuchisthevibrancyexhibited (DB)

TheBA�in�Art�Degree�ShowofCarlowIT’sWexfordCampuswasheld inaVECbuilding in the town.Thebuildingwasabitofalabyrinthandassuch

aided theunexpected.Onenaturallywants tomakeconnectionsbetweenthedisparateelementsthatexistinagroupshowandIwasstruckbytheinterestintheuseof lightsourcesdepictedby thepainters in theexhibition:inMartinRedmond’ssmallscaleinteriors;

From ‘Stations’ series - Declan Breen

start�18

Emma Murphy’s decrepit houses and warehousesilluminatedbytheglowfromatelevisionset;evenDeeWalsh’sarcitecturalinvestigationshasatouchofEdwardHopperaboutthem(herpieceonpaperworkedespeciallywelltoillustratehersubjectmatter).Ontheotherhand,DavidBooth’sattractiveportraitswerenotablebytheabsenceofcolour,withgriddedfiguresblendinginablurofmotionintotheplaneofthecanvas.EmmetO’Sullivantookaconstructivistapproach,analmostmathematicaldelineationoflinesandrectanglesfloatingonavagueRothkoesquebackdrop.

This ideaofgriddingwasrepeated inKateRedmond’sphotographswhere imageswerecut inapatternedwaygivingasenseofrepetition,explosionandfluxtothepieces.MichelleBrannigantooklandscapephotographs througha funnelledmechanism,whichgaveanethereal,sometimesbeautifulquality totheimages.FergusDoylemappedastretchofreclaimedlandscapeinphotographs.Theuseofsurveyorstoolslikecharactersintheforegroundsuggestedapowerplaybetweennatureandman,asifthisactwasahaughtymatterofreclamationbymapratherthanthebruteforcerequiredtocontrolnaturalforces.Theoutcomeperhapsstilltobedecided.

RebekahMcCarthy’s treated videopiecesdealtwithherownsociallife,akeyareaofcourse,ofthestudentworld.BernieHassettinvideoalso,lookedataculturalquirk–asmallhousebesideaholywellwherepeople leavesupplications innotesandholystatuestotheSaintofthewell.Theworkasapieceofdocumentationworkedwell.CraigBelluseddigitalimagestoshowtheduality thatexists inaspectsofpersonality. This work slinked edgily along mentalcollapsedippingit’stoegingerlyattimes.ItworkedbestatanEmin-styleroom–crouchdowntoenter–whereasmalldeskandchairwereset.Thedeskvibratedwithloudmusic–ateenagerebellionperhaps,embodiedintheshakingdrawers.

UsingvideoagainErinDonoghueescapedthroughthereflectedwatersofWexford’srivers;EmmaMacLoughlinanimatedafamilyoflocks,Pixar-like,togivethemindividualpersonalities;MichelleMurphy’sinstallationwasatableofdiscardedutensils,platesandcupssettoasoundtrackofeverydaylife;TraceyCostelloinstalledthedetritusofahouse,bringingtogetherthedisparate,nowcollected,tocreatenewconnectionsinapublicspace.ValerieKilroy’ssculptureattemptedapoeticassemblageofbone,woodandfeather.These

founditemswererecraftedintonewpieces,achair,a‘bed’ofcones,butstillretainingatotemicsense.

Backdownstairs,DerekMcCloskeypresenteduswithvideosofnormalcy,atriponaboatprojectedusing a door as a screen. The viewer concentratedharderbecauseofthecontext,butdoestheeventgainmorevalueorless?Indeedwhatvaluecanbeplacedonrepresentationsofnormalacyinaworldrequestingconstant agitation? Finally into the strangest of allthe works: Richard Carr’s dark booths, where fourindividualscouldsitwithheadphones listening toadisssonantsoundofdrilling,whilealsohavingtheabilitytocontrolthelightingofanother’sbooth.Guantanamo-Bay-liteattemptstodisassociatetheindividualfromaconstructivemeaningofthepresentwereatplayhereandthispieceandit’sprogenyholdbountifulopportunitiesforthisartisttoexplore.

Onelastpointonthisshow;itwasgoodtoseeintheexhibitioncataloguenotesthatthestudentsseemedtobereadingalot,usingsourcematerialanddevelopingthemeswithsomerigour (DB)

reviews

David Booth - Oil on Canvas

start�19

Start�alsogottoseetheBA�in�DesigninWaterfordInstituteofTechnology(June).Herethestudentsworkfromanumberofprojectssetthroughoutthe

year,someofwhichendupondisplayorinfoldersfortheexhibition.It’salwaysdifficulttoassessthisshowasthestudentsexhibitstrengthsandweaknessesindifferentmeasures.But...welikedAoifeDunne’sartyandstrikingshopping centre photographs and Raymond Doyle’sderivativeupdatesofHitchcock’sVertigoposterforhisRiversideFoxTheatreseries.NiamhCronin’sstrongpointseemedtobeillustrationjudgingbyherMillHagPoemscollection(welikedtheuseofthreadinhergreyeatingdisorder/healthpresentation,also);RowenaLeavywonadeservedawardforthequalityofthetreatedartworkfortheSongbirdseries;MikhailFarelly’s timelyAmnestyInternationalposterofRobertMugabewasnoted;PaddyMcGrath’scelebrityportraitsforaroadsafetyjobweresuberb,fabulouslycrispandstyledimages;wealsolikedChrisLuton’scomputerisedstoryboardsandwelovedthe

VisualArt

reviews

blissedoutchildren’sfoodandclothingpackaginganddesignfromKarenSullivan (BM)

Limerickartist�Nuala�O’Sullivanhadasmallshow,‘Other�Peoples�Lives’,intheupstairsgalleryoftheWatergateTheatreinKilkenny(April/May).The

exhibitionoffivepaintingsusedoldfamilyphotographsandmoviesfromthe1950’sdepictingfamilymembersinsocialsettingsorattendingevents.O’Sullivanusesthintranslucentlayersofpainttogettheeffectofcelluloidorthewashedoutcolourofsomephotographsfromtheperiod.Thetechniquesandimagesusedcommentonandheightenthealreadytenseconstraintsof1950’sIrelandandtheuseoftitlessuchas‘TheOtherWoman’and ‘InnocentVoyeur’serve todrive thepieces intoDouglasSirkterritory.OneisleftwiththeimpressionthatthesearevariationsontheStrandcigaretteadvertisingimagesoftheperiodwhereacoolexteriorisdeemeduseful,despitetheunsettlingbutterfliesthatmightexistunderneath (BM)

GypsyRayisasurvivorofbreastcancerandLauraGladneysuffers fromanautoimmunediseasecalledSystemicLupusErythemathosus (SLE).

Bothcreatedartworksforashowentitled‘Hide�and�Seek’thatfeaturedontheWaterfordHealingArtsTrustwalls(April/June).HideandSeekwasaclever title for theexhibitionbecauseitsuggeststheprivateandinternalisednatureofillness,one’swishesperhaps,tokeepithiddenandasdepictedintheseworks,theactualbiologyandmicrobiology – the often unseen nature of illness.Gladney’soilsfocusontheflesh,butinclose-up,thewearandthecasualbreak-downofthesurfaceoftheskin–therashesthatSLEcausesamongstit’sothertraits.Ray,ahighlyregardedphotographerlooksevencloseratherillness,depictingthealteringcellsinherbody.Theworks,g r a p h i t e o n p a p e r , s e e m t o t r a c k t h echangingcircumstancesofthecondition–withthepiecesexhibitedalongsideeachotherasifchronologically.Bothartists’imagesdealwiththesubjectmatterabstractlyandinthatmannerholdtothethemeoftheshow.Inthisway,theydon’ttryto‘name’theillnessasiftheycancontrolitthroughart,butattempttobringoutanalternatevisuallanguagethatcandescribeitmore–toapproachitinanothermannerandattempttounderstandwhathastakenplacewithintheirbodies (SR)‘Shane Lynch’ - Paddy McGrath

start�20

reviews

The�Wexford�Arts�Centrecelebrated thirty fiveyearsinexistencewithanexhibitionofpromotionalmaterialandphotographsfromacrosstheyears.

Thepostersandflyersondisplayshowedthechangingqualitiesofdesignoverthepastnumberofyearsaswell as depicting the broad range of activities theCentrehasbeeninvolvedin.Inthemisdtofitall,wesawprogrammesforapre-ArtemisFowlEoinColferplay,aphotographofayouthfulNeilJordanataneventandashotofBillyRocheperforminginoneofhisworks.IexpectthepeopleofWexfordwoulddelightinspottingthegreatandthegoodthathavepassedthroughthebuildingoverthedecadesandaredepictedacrosstheexhibition.TheshowendedwithplansforanupgradeandrefurbishmentoftheCentre.Alwaysahopefulsign.

Downstairs in Wexford Ar ts Centre was‘Between�the�Lines’anexhibitionofworkbyAngelaFrewerandMichaelMoore.Moore’ssevenwhiteceramicpiecesinthecentralpartoftheGalleryhadasoliditytothem,butwithanalteringsilhouetteasonemovedaroundthem.Sometimessuggestingaclosedvesselshape,with

ataperingtowardsthebase,othertimesmultilayeredsculpturesintheirownright,theworksgrewandrecededto theeye, clinicallyattractiveatall times. Frewer’spaintingstooktheirleadfromthelinesthatmadethem.One,twoandthreepanelledpieceshintingatmusicasasource,thelinesplayedoutinburstsofexcitementorcametogether,asin‘HostofPilgrims’intodepictionsofnearthree-dimensionalforms.Againstwashesofcolour,therewasphysicalityofmarkmakingondisplay,somewhatrhythmicbutalsowithaliquidlanguidnessorasenseofcontemplationaboutthem.Thisworkinallit’sfreedomandgesturalexpressionseemstohavebeenlearnedandhonedoveraperiodoftime (DB)DB

DavidBeattie’s�‘Remote�Control’exhibitionattheButlerGallery(June/July)hasaWilhelmReichianfeelaboutit.Notcontentwithmakingmini-clouds

appearinonepiece,helendstacitcredencetoReich’smysterious theoryoforgonewithbasic constructedexperimentsthatrelayandcaptureenergy.

The pieces tend to beminor experiments– thedisparate reflectionsof themirrored ‘CircleofTriangles’;theaforementioned‘Cloudmaker’,whereadropofwaterfallsonaelectrichobandnaturallyturnsintoapuffofsteamuponcontactor ‘DrumRoll’–avisualplayonwordswhereaplasticbag,attachedtoacircularmotordriftsaroundadrum.‘Underlaboratoryconditions’maynotbethecry,becauseBeattieisawareofthechangeablenatureofthefactorsinvolved–thepasticbagwillnevertravelinthesamewaytwice,orthecloudofwatervapourwillneverberepeatedinthesamemanner-therudimentaryapplicationofscienceintheworkexistsinaworldthatplayswithittoo.

The large piece ‘Controls for the Hear toftheSunPart2’whichfillsthefinalsectionofthegalleryconfirmstheelementsofchancethatarekeyto theworks.ASuper8 film isprojected throughalamp(outsideofanormalfilmprojector’sgate), thereelpassinginanextendedandunprotectedmanneroverspoolsinacyclicalfashion–atriangularsectionofaluminumcapturesthesound(modulatedthroughasounddesk)whichexistsasadulldroneattheapexofthealuminumpanels.Theworkissoextendedandvariablebynature,thatitcannotaccuratelyproveordisproveanyfact.Apartfromthefactthatitexistsandiswitnessedbyotherpeople.Butperhapsthis isaproofinitself?

‘Cover Up #5’ - Gypsy Ray

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Garter Lane in Waterford also housed AidanDunne’sexhibitionofpaintingsandphotographs

‘Sight�Unseen’(May/June).Dunne’sphotographscapturenaturalphenomena,especiallytheinterplayoflightonfoliageandtheravagescausedbytimeandmanonsurfaces.Fourpaintingsinthemainexhibitionspacein Garter Lane are painted with a deliberation andequalnessofbrushstrokethatbeliestheirnaturalsubjectmatter.Dunneabstractsthemalmostintopattern.Thisisreflectedtooinmanyofthephotographs,wherelightand it’s interactionwithsurface, leavesaconfusedimpressionisticscreenedimagewithnofigureorgroundtoallowdistinction.Theurbanphotographsallowmoreclarity,suchthebuildingsof‘TheHague’,butDunnealwaysreturnstotheabstract,oftentothemicrocosm-thetornsurfacesin‘Plywood’ortheshadowsofwritingon thebluedoor ‘OffHarrisonRow.’As viewerswebecomekeenlyawareofDunne’sroleinimage-making,whereabroaderconcreterealityismediatedbytheartist.Dunneasksustolookanewatthesurfacewhilstcleverlyobscuringthetotalityoftheimage,leavingtheviewertodeliberatealone (SR)

Oneoftheimagesondisplayintheexhibition‘Sky’offersafinalclue.Yes,thereisscience,andthereisthewhimsyofplay,butBeattiegivesusanimageofaplaneagainstablueskywhichsuggeststhesenseofmysterythatalsoexistswithinthework.Howdoestheplanestayinthesky?Whydoesthewaterevaporate?Thesearechildishquestionsscoffedatbyengineersandmeteorologists,butevenwhenansweredtendtoleaveuswonderingstill.Beattiewithachild’seyeandsomebasicequipmenttriestofigureitalloutagain.Reichwouldbeproud (SR)

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‘Off Harrison Row’ (Detail) - Aidan Dunne‘Cloudmaker’ David Beattie. Electric Hob, water container, wood, electrical cable. 220 x 120 x 120 cm. 2009. Courtesy Butler Gallery

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featandhastobeadmired.Thealbumopenswiththeinstrumental‘DNA1’,whichformeisactuallyoneofthehighlights.Theopeningfewsecondssoundalmostasifthealbumisgoingtobesomeformof‘drone-rock’likesomeofthelater‘Earth’stuff,thoughthisquicklychangesasthesonggoeson,featuringabodhránandlayeredvocals.Overallit’squiteanicetrack.AssoonasyouhearDawson’sruggedvocalsonthesecondtrack‘Leaf’,yourecognisethatthealbumisveryreminiscentofgrunge,rightdowntothevocals.There’snodenyingthatAlanDawsoncansing,he’sgotapowerful,grainyvoiceverysimilartoLayneStaley/ChrisCornell.There’sfivetrackscalledDNA–(DNA1,2...)andtheyalmostfeellikebreaksbetweentheothersongsinthealbumratherthansongsuntothemselveswhichmakesthealbumfeellikeoneentityratherthanjustacollectionofsongs.However,whenyouhear‘Pullitout’and‘Buddha’thealbumstartstofeelabitsamey,almostasifit’s‘grungebynumbers’.Thisisn’thelpedbythefactthateachsongissolong.‘Leaf’,‘Buddha’and‘Pullitout’arealloversixminuteslong,with‘Pullitout’clockinginatnearlynineminutes.Thealbumdoesgetbetterasitgoesonasitbeginstoshedthetiredgrungesound.Partsof‘Kingdom’soundalmostlike‘math-rock’bandssuchasDonCaballero.Thefinaltrack‘Smegma’isonethealbums’bettertracksforme,driftinginandoutofvaryingstylessuchasreggaeandmetal.Thecleanguitarinthissongisreallylovely.

Theprojecthastobeadmired;whatstartedoutasasmallprojectblossomedintoawell-developedandprofessionalsoundingalbum.Themulti-instrumentalismandthequalityoftheproductionof‘Strands’showsthatDawsonisamanwithobvioustalentandthereareflashesofgoodsongwritingthroughout.Personalhighlightsformeare‘DNA1’and‘DNA�’.Therearesomereallyinterestingsoundsinboththesetracks,however,youcan’thelpbutfeelwhenlistening,thatmostofthesongsarejusttoolongandsoundtoosimilartooneanother.It’sdifficulttodistinguishonesongfromanother.Thatbeingsaid,I’msurefansofAliceinChains,SoundgardenorToolwouldbemuchmoreappreciativeoftheLionsManedebutalbumandIwouldrecommendtheygiveitalisten (JK)

Therehavebeenplentywhoagreethattheuniqueattributes that make the Rhythm� &� Roots�Festival�(Kilkenny/May)asuccessforthetwelfth

yearrunning,hastobebothamodestandinconspicuousessenceandits’toweringcalibreoftalent.

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Strands isthedebutalbumofTheLionsManewhichbeganasaprojectdreamedupbyKilkenny’sAlanDawsonwhowanted tomake ‘music for

music’ssake’.Despitewantingtoremainanonymousfromthemusic,toallowittospeakforitself,itwasn’tlongafterhebeganpostinghissongsonmyspacethattherewasastrongdemandforliveshowswhichmeanthewasn’tgoingtobeleftinhischosenobscurity.Originallyheplayedalltheinstrumentshimselfbuttohelpwithliveshows,drummerJamesO’Brienwasdraftedin.LocalmusiciansfrombandssuchasSouthandPigeonHolewerealsorecruitedtoplay.‘Strands’istheculminationofoverayear’slabour.Accordingtothebands’myspace,theLionsManesoundisinspiredbythelikesofKingCrimson,YesandalsotheSeattlegrungebandssuchasAliceinChainsandSoundgarden,thelatterbeingobviouswhenyoulistentothealbum.

Thewholealbumwasproduced, recorded,mixedandmasteredbyAlanDawson.Thisisnomean

Music

The Lions Mane

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Theonlylassoaroundone’sneckherewhenitcomestotheRhythm&Rootsweekend,isthatthereisjusttoomuchtohearinonejam-packedweekend.Folkswhowaitedwithbaitedbreathgotanearlytasteofwhatwastocomewithapre-festivalgiginCleeresonThursdayevening.TV Jones and the Tomahawksstartedpumpingoutsomerockabillyroarstowarmuptheearlydwellers.Thistalentedbunchofhicks,hadjustabouteverybarinKilkennybouncingbytheendoftheweekend.

Turningitdownanotchandaddingthesweetvocalstylingsofa lady,Melissa McClellandsuppliedthoselookingforsomemoodyaltcountryharmonizingwithanicesetonSundayafternoon.Consideringthathersingingpipesweresomewhatundertheweather,shestilltranscendedhertunesinacharmingandreposefulmanner.Thencamethehardworkingthreesome,The Deans,whonotbeingrestrictedbytheconfinesofapub,setupshopattheTownHallandhadtheirsoundsofblues-rockslidingdownHighStreet.

Anyone that was lucky enough to surviveawholeSundayfullofactsfromThe Pilgrim Sistersat

TheField,B & The HoneyboysinRyan’s,Peter BroderickholdingupatTheClubhouseandOtis GibbsinthebackofCleereswereamongthespecialonestowitnessatroopofwelldressedmadmendownintheunderbellyoftheOrmondeHotel.WelltheJim Jones Revuesureshowedfolkswhatrealrock'n'rollmayhemislike.Asleadsinger,MrJones,swungviolentlyaroundthestagewhilebellowingandhowling into themicrophone;hehadthecrowdinafrenzy.Therewereaselectfewthatdidn’tparticularlyenjoythesound,butthosewholikeitloudandarduous,leftwiththeirfeetburninganddoubledoseduponrock‘n’roll.

Forthedie-hardfansofthefestivalandthosewhoseboneshadn’tshatteredorfractured,theboundariesofParisTexasputthefestivaltoaclosewithabang,quiteliterally.ThisyearhadthereturnofHillbilly Casinodoingtheirthing.Thepackedhousequakedandshakedtothelastsoundsofthefestival.Tiredandbrimming;murmursofnextyearwerealreadyonthetonguesofpunters.Thereain’tnodarnfestivallikethis;that’sjustthewaywerolldownhereintheSouthEast (IM)

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