2024 Concept to Publication

Exhibition Review: Visual Art | Brian Rope

Concept to Publication | Andrea Bryant, George Kriz, Meredith Krust-McKay, Louise Maurer, Helena Romaniuk, Sari Sutton

PhotoAccess Gallery I 28 November 2024 – 21 December 2024

This exhibition is the outcome of the 2024 Concept to Publication workshop series conducted by Photo Access. After nine months of mentorship by David Hempenstall exploring the art of the photobook, the participants have created new bodies of work showcasing their unique photographic styles in books.

There is quite a variety of book types on display. Not unexpectedly, the subjects and types of images in them vary considerably. Of even greater interest though is the varied styles of books. Some are traditional and commercially printed photobooks. Others are cleverly handmade and quite fascinating to see. 

Andrea Bryant is displaying four separate books. Unleashed has just eight images of Scrivener Dam overflows during major rain events. It has a ribbon hinge accordion binding with a marbled cover. Upright has only six monochrome images in a concertina binding with flag pouches for the images. Both these books were crafted for the artist by Joy Tonkin of Bookarts Canberra.

Unleashed by Andrea Bryant – installation photo by Eunie Kim

Upright by Andrea Bryant – installation photo by Eunie Kim

Footloose is a whimsical exploration of feet and shoes. Unnamed is abstracts of our urban landscapes. The imagery in both these books challenge us to appreciate them. 

Footloose by Andrea Bryant – installation photo by Eunie Kim

George Kriz presents Holding On, Letting Go. It is a tribute to his beloved wife Marjorie who passed away at the start of 2024. This is an artwork speaking to us about letting go and saying goodbye. The artist invites viewers to contemplate the transient nature of our existence. Whilst the physical book is not entirely easy to handle and explore because of its somewhat complex structure, viewing the accompanying powerful video is a most moving experience.

Holding On, Letting Go by George Kriz – installation photo by Eunie Kim

Meredith Krust-McKay invites us to get Up Close and enjoy the beauty of birds. The images of the avian world are excellent, and the chosen types of handmade books are fine choices, in the artist’s words “conveys parallels between the structure and delicacy of the feathered subject matter and the intricacies of one book form.”

Up Close by Meredith Krust-McKay - installation photo by Eunie Kim 

Up Close by Meredith Krust-McKay - installation photo by Eunie Kim

Louise Maurer’s contribution is titled Australian Tales. It is a creative imagining of explorer Charles Sturt’s search for an inland sea. It and her Memorial series about those who attempt to cross the waters but never find land became one in the process. Her “creative revision” method of developing the images has been beautifully used.

Australian Tales by Louise Maurer - installation photo by Eunie Kim 

Australian Tales by Louise Maurer - installation photo by Eunie Kim

Helena Romaniuk is showing photobooks about rust developed from her project which involved experimenting with templates, collages and colours. There are a number of books in her series titled Colour of Rust. Each one contains images of rusted metal surfaces, weathered machinery and forgotten relics. The textures, pattens and vibrant colours are effectively used to reveal unexpected beauty.

Colour of Rust by Helena Romaniuk - installation photo by Eunie Kim

Sari Sutton was a Dark Matter artist-in-residence at Photo Access this year. Her body of work, Dark Energy, was developed during the residency. Using archival Mount Stromlo imagery and botanical materials collected on site, photogram artworks inspired by astronomy and the cosmos were made – deliberately moving or placing objects on the photosensitive paper. Here the artist shows a photobook dummy of darkroom prints (which are the same 8x10 inch dimensions as her original silver gelatin prints) in a way which allows us to touch and hold them.

Dark Energy by Sari Sutton - installation photo by Eunie Kim

This exhibition is well worth a visit. It is a credit to the six participants, and to their mentoring by David Hempenstall. This annual program has delivered worthwhile creative results.

This review is also available on the author's blog here.

TICK, TICK...BOOM! - ACT Hub

Taylor Pailiaga- Alexander Unikowski - Dave Collins in "Tick, Tick...Boom!"

 

Directed by Nikki Fitzgerald – Musical Direction by Callum Tolhurst-Close

Choreographed by Nathan Rutups – Costumes designed by Fiona Leach

Lighting design by Nikki Fitzgerald – Sound design by Nathan Patrech & Lucy Van Dooren

ACT Hub 11^th – 21^st December 2024

Opening night performance on 11^th December reviewed by BILL STEPHENS.

Taylor Paliaga and Alexander Unikowski in "Tick, Tick...Boom!

Originally written and performed as a solo work by Jonathan Larson, who famously died on the day of the first preview of his hit musical Rent, Tick, Tick…Boom!  was revived and revamped after Larson’s death, by playwright David Auburn, as a work for three actors and premiered off-Broadway in 2001.

It is this version that is currently on show at the ACT Hub, performed by Alexander Unikowski, Dave Collins and Taylor Paliaga.

Semi-autobiographical, the musical follows the story of an aspiring young composer named Jon (Alexander Unikowski) who, as this 30^th birthday approaches, finds himself struggling with his relationships and career choices as he works to establish himself as a composer of musicals.

Intriguingly events in Jon’s life echo Larson’s life. In the show Jon is working on a musical, and of course Larson was working on Rent at the time of his death. Larson was an admirer of the work of Stephen Sondheim and references to Sondheim and several of his musicals occur in the storyline and score of Tick, Tick…Boom! notably in the songs "Johnny Can’t Decide", "Sunday" and "Why".

Taylor Paliaga - Alexander Unikowski - Dave Collings in "Tick, Tick...Boom!"

Making an impressive directorial debut for ACT Hub, Nikki Fitzgerald has devised an intelligent, well -paced production showcasing the versatility of her three actors with smart directorial choices which kept the storytelling sharply focussed.

Her lighting design was puzzling until the realisation occurred that perhaps the constantly changing lighting states were meant to represent flashing neon signs across from Jon’s apartment. If so, it was also distracting.

Nathan Rutup’s frenetic choreography neatly complimented Fitzgerald’s direction by providing the actors with opportunities to highlight Larson’s clever lyrics; as did the sensitive accompaniments by the onstage four-piece band led by Callum Tolhurst-Close on Keyboard.

In the central role as the struggling composer, Alexander Unikowski offers a tour de force performance.

While it’s not necessary to be a composer to play the role, Unikowski’s own life’s experience certainly allows him to invest his portrayal with remarkable nuance and authenticity. Often accompanying himself on keyboard and addressing the audience directly, his beautifully sung and articulated performance is both moving and thrilling.  

Complimenting Unikowski, Dave Collins and Taylor Paliaga both successfully mine the clever script to create beautifully rounded characterisations as Jon’s ebullient bestie, Michael, and his long-suffering girlfriend, Susan.

They also take advantage of the opportunities offered by the necessity for each to create a succession of characters who populate Jon’s world, to reveal their impressive comedic skills, particularly when sharing the role of Jon’s hard-boiled agent, Rosa.  

Once again ACT Hub has pulled a rabbit out of the hat to showcase talented local performers and creatives in a funny, moving and imaginative production of an engaging mini-musical to round out a year of outstanding and provocative productions.   

                                      Photos by Janelle McMenamin, Michael Moore     

     This review first published in the digital edition of CITY NEWS on December 12th 2024.

SAUCE BY CIARA ELIZABETH SMYTH

 

 

Ashleigh Butler and Claire Imlach in Sauce

Sauce by Ciara Elizabeth Smyth.

Directed by Christopher Samuel Carroll. Barewitness Theatre Company. Smith’s Alternative Upstairs. Bookings: www.barewitnesstheatre.com/sauce.ember 11-15 2024.

Reviewed by Peter Wilkins

 

Christopher Samuel Carroll
Director of Sauce

Keep your eyes out for emerging Canberra actors Ashleigh Butler who plays Mella and Claire Imlach who is Moira in Ciara Elizabeth Smyth’s Sauce. If their performances are anything to judge by, these two Canberra Youth theatre alumni could be Australian TV’s next comedy duo in the tradition of Kath and Kim or Brtain’s Edwina and Patsy. Their comedic timing is absolutely fabulous. Their “lokk at moi” character changes are slick and snappy. Irish writer Smyth dishes up a saucy diet of rapid-fired wit with a palatable serving of food for thought. By the end of the play Smyth’s delicious menu of issues has ladelled out Mella’s compulsive lies and Moira’s gluttonous kleptomania with a heaped side plate of guilt. Mella’s alcoholic grandmother has died and her Great Uncle Paddy (Imlach) decides to evict Mella. Moira wakes to find her husband Phil (Butler) having sex with a blonde alongside Moira. Mella visits the sleazy solicitor (Imlach) to try and contest the will. Moira is plagued by her big-mouthed work colleague Siobhan (Butler). Both women end up at a swimming slimming club and form an unlikely friendship.

Director Christopher Samuel Carroll is Irish and obviously makes the most of catering for  Smyth’s wicked sense of humour.  Carroll is also a graduate of the Le Coq school of mask and movement and he imbues his actors with a sharply defined sense of physical comedy. Barewitness Theatre strips back the artifice. In the new upstairs venue of Smith’s Alternative the setting is unadorned except for a large Persian rug on a slightly raised platform of stage blocks against a red wall. Butler and Imlach alone inhabit the space with performances garnished with a rich source of comedy and topped with a dose of honest pathos and new-found friendship.

If laughter is the best medicine, then Sauce is the sweetener and friendship the elixir to combat the unpalatable taste of unhealthy body image, infidelity, loneliness and sexual harassment to name but a  few of the unsavoury additives in Mella and Moira’s lives. Sauce is salivating good fun. It’s clever, extremely funny, wonderfully played by two rising comedy performers and directed with flair and flavour.

Sauce is only playing until December 15^th so Canberrans will need to be quick to catch the show before it moves to Melbourne’s Butterfly Club from the 18^th. to the 21^st. It’s the ideal Christmas treat with a full diet of rib-tickling comedy and some thought-provoking morsels on the side. Highly recommended!

Photos by Michelle Higgs

tick, tick... BOOM!

Written by Jonathan Larson

Directed by Nikki Fitzgerald

Musical Direction by Callum Tolhurst-Close

ACT Hub, Kingston to 21 December

 

Reviewed by Len Power 12 December 2024

 

Jonathan Larson, the author of the 1996 musical, “Rent”, died just before its opening on Broadway, where it became a big hit. “tick, tick… BOOM!” details the struggle and self-doubts of a young musical writer in New York in the 1990s. It’s a semi-autobiographical show that gives an insight into the current state of mind of the character as he tries to have his work accepted in the notoriously tough Broadway environment.

 “tick, tick… BOOM!” began life as a solo work in 1990, which Larson himself performed. After his death and the success of “Rent”, “tick, tick… BOOM!” was revised and revamped by playwright David Auburn into a three-character work which premiered off-Broadway in 2001. The show has gone on to have an international success and has been filmed.

The musical needs a performer who can play the piano, sing and act very well. In ACT Hub’s new production, Alexander Unikowski brings his knowledge and talent as a musical director of local shows to the part of the aspiring composer, Jon. The role fits him perfectly and he performs all aspects of this character with skill and a winning appeal. His singing of “Johnny Can’t Decide”, “See Her Smile” and “Why” are especially memorable.

Dave Collins is convincing as Jon’s best friend, Michael, and he gives a heart-felt performance of the song, “Real Life”. He also plays other characters in the story very well.

As Jon’s girlfriend, Susan, Taylor Paliaga impresses with a touching and believable performance of a woman who clearly loves Jon but needs a change in her life. She also plays other incidental characters in the show and gives a nicely sensitive performance of the song, “Come To Your Senses”, as the character, Karessa.

Taylor Paliaga, Alexander Unikowski and Dave Collins

Director, Nikki Fitzgerald, has staged the show very well, keeping this 90 minute show without interval constantly interesting.  There are inventive touches that indicate changes of scene with minimal props and costume and the show moves at a good pace.  Nathan Rutups’ choreography is equally inventive and suits the style of the show very well.

Nathan Patrech’s sound design is so good that the singers did not sound amplified at all and the sound balance with the small band was just right. Callum Tolhurst-Close and the band members gave a fine performance of the score.

This musical, all the more poignant because we know that Jonathan Larson didn’t live to see his success with “Rent”, has been given an excellent production by Nikki Fitzgerald and ACT Hub.

 

Photo by Janelle McMenamin and Michael Moore

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

  

2024 Concept to Exhibition

Photography Exhibition Review | Brian Rope

Concept to Exhibition I James Bolto, Kate Leddick, Fernanda Pedroso, Albert Soesastro, James Whitehead

PhotoAccess Gallery I 28 November 2024 – 21 December 2024

This exhibition is the outcome of the 2024 Concept to Exhibition workshop series conducted by Photo Access. After nine months of mentorship the participants have created new bodies of work showcasing their unique photographic styles.

James Bolto’s series of artworks explores wildlife – in particular the resilience of wildlife in the context of our expanding urban areas. Creatures have to adapt to live with us – or relocate to other habitats. The artist tells us that, in order to co-exist with us, wildlife species each have to find ways of living alongside us if they are to survive. His images provide information about various creatures which invite us to think about our co-existence with various species. This series effectively poses the question “to what extent should their challenges matter to us.” 

James Bolto - Black Mountain Colony, 2024

James Bolto, 2024 (Installation Image)

Kate Leddick’s series The Messy Journey of Motherhood, 2024 reflects on various aspects of family life, including love, parenthood, separation and chaos. The images have come from diving into her archives. The resultant series is, for her, a personal one about memories of what she considers to be a messy motherhood journey. The exhibition catalogue provides further details of how her feelings emerged as she undertook her exploration of her archives. 

In another series Silent Currents, 2024 Fernanda Pedroso has explored “the quiet sadness” of Tokyo – a city of silent currents, spaces between and spaces within: a city of crowds, of pulsing streets, and “where individuality thrives, yet human connection feels elusive.” Each of the images contributes to a most interesting overall snapshot of the busy city and reveals elements of the city that this artist has identified. This series is an excellent example of how photographers can explore specific urban areas and paint descriptions for those fortunate to see their imagery.

Fernanda Pedroso - from the series Silent Currents, 2024 

Fernanda Pedroso - from the series Silent Currents, 2024

Albert Soesastro has long been passionate about both photography and skateboarding. It makes sense therefore that he has merged those two passions and created photographs about skateboarding. These images immediately attracted my attention as I entered the gallery. They are vibrantly colourful and, together with their titles, reveal much about skateboarding to those of us who don’t have the knowledge.

Albert Soeastro - Argenis Urbina, Backside five-o-grind, Hume, 2023

Albert Soesastro - Annie Walker, Nose slide series, Canberra City, 2022

James Whitehead’s series reality : dreaming, circa 1987 – 2024 is about wondering what “the other side” was like, which side he was on, images recalling memories, everyday light, and new life taking shape. There are two distinct styles of images alternating on the walls of the gallery. Small colour prints arranged in groups are, presumably, memories. His other exhibits immediately say “artwork”. 

JAMES WHITEHEAD - from the series reality : dreaming, circa 1987 – 2024 

JAMES WHITEHEAD - from the series reality : dreaming, circa 1987 – 2024

Overall, the exhibition is well worth a visit. It is a credit to the five participants in the workshop, and to their mentoring by Alex Robinson. Once again, this annual program has delivered a worthwhile outcome.

This review is also available on the author's blog here.

TICK TICK BOOM!

 

Tick Tick Boom!. Music and lyrics by Jonathan Larson. Revised script by David Auburn.

Directed by Nikki Fitzgerald. Musical direction by Callum Tolhurst-Close. Choreography by Nathan Rutups. Stage Manager Lucy van Dooren. Costume design Fiona Leach. Lighting design Nikki Fitzgerald. Sound design Nathan Patrech, Lucy van Dooren. Set realisation Nikki Firtzgerald, Cole Hilder and Aaran McKenna. Production photography Jenelle McMenamin and Michael Moore. Presented by ACT HUB. December 11-21. Bookings at enquiries@acthub.com.au or phone 0402 809762 Box Office

 Reviewed by Peter Wilkins

Susan (Taylor Paglia), Jon (Alexander Unikowski) and Michael (Dave Collins)

 

I watch ACT HUB’s production of Jonathan Larson’s Tick Tick Boom! with a sense of loss and a feeling of admiration. The loss is because  of composer Larson’s  untimely death the day before the opening of what would be his highly acclaimed and successful rock opera Rent. The admiration is at Larson’s passion for his art and perseverance to achieve his dream. Tick Tick Boom! began as a rock monologue, a new genre that spoke for the artists struggling to succeed. Originally performed as a one person show by Larson in workshop,  Tick Tick Boom! was worked on by David Auburn to include three actors two of whom  play multiple characters throughout the show. Jon (Alexander Unikowski) is a young composer about to turn 30 in 1990 (30-90) He is working on an original rock opera, Superbia but facing a crisis of confidence. Jon is facing the questions that many aspiring artists confront as they strive to achieve their dream. It affects his relationship with his girlfriend Susan (Taylor Paliaga), his childhood friend and successful corporate employee Michael (Dave Collins) . 

 

Alexander Unikowski plays Jon

In Johnny Can’t Decide, Jon, Michael and Susan express the conflict that many aspiring professional artists face whether to continue to struggle or take the easy options of financial security, family and a steady relationship. Or does Jon settle for work in a restaurant (Sunday)? It is his attraction to one of his own and a singer in Superbia, Karessa (played by Paglia) and his contact with Michael’s corporate world that Jon resolves to continue with his workshop of Superbia, and accept his age. Tick Tick Boom! is a clarion call to all artists to live your dream. It helps of course if you manage to get the support of Stephen Sondheim!

 Director Nikki Fitzgerald’s production bears all the earmarks of an off-Broadway production. The staging is intimate at ACT HUB. The band members under the musical direction of  Callum Tolhurst-Close are visible at the back of the stage, where we can see a very effusive Tolhurst-Close enjoying the rock rhythms on his keyboard. Fitzgerald has blocked her actors well on the lower stage at the front and Nathan Rutup’s choreography is simply staged to suit the actor’s moments and inject a mischievous humour into their movements. Larson’s early work is an actor’s piece. As Jon, Unikowski is instantly likeable. His excitement and his frustration exude a boyish innocence. Unikowski is a triple talent. He sings, plays the piano and acts with skill and ebullience. Only his voice at times on the gentler rock numbers loses projection in the reprise of 30-90. Unikowski is perfectly cast to take on the role of Larson in this autobiographical work. Collins and Paglia take on all the other roles, deftly transitioning between characters. Collins is a natural comic. He fills the stage with charisma in such numbers as No More and Why and it is worth a visit to Tick Tick Boom just to see Collins and Unikowski defy conformity and expectation in No More. Collins also demonstrates his versatility and a poignancy at Michael’s admission of his illness.

Dave Collins plays Michael

 Jon’s workshop production is attended by his idol of the music theatre world. It is obvious that Larson was mentored by Sondheim and he has dedicated Sunday to Sondheim as an homage to the finale of Sunday in the Park With George. There are also references in Why and I am again reminded of what might have been. Everyman’s production of Tick Tick Boom! pays allegiance to the tradition of Off Broadway combined with the promise of a Broadway season. 

Larson never lived to see a revitalized Tick Tick Boom! or Rent achieve his dream and ACT Hub’s faithful and finely staged  production is a worthy tribute to  talented composer Jonathan Larson’s gift to the world of music theatre. Make a visit to Tick Tick Boom! a pre-Christmas treat.

Carol Jerrems – Portraits

Exhibition Review: Visual Art | Brian Rope

Carol Jerrems – Portraits I Carol Jerrems

National Portrait Gallery I 30 November 2024 - 2 March 2025

Carol Jerrems: Portraits is a major exhibition of images by one of Australia’s most influential photographers. Jerrems’ intimate portraits of friends, lovers and artistic peers have shaped Australian visual culture. Against the backdrop of social change in the 1970s, her practice charted the women’s movement, documented First Nations activism, put a spotlight on youth subcultures and explored the music and arts scenes of the era.

What were you doing in the ‘70s? Some visitors to this exhibition will not have been born then. Others spent those years “wasting their youth”. My wife and I were raising two young children. Some are well past the age that Jerrems was when she was documenting the ‘70s.

Her career spanned only twelve years before a tragic death at the age of 30. Jerrems captured the world around her with curiosity and courage. She photographed her world - a voracious observer yet also intentional in her approach to narrative and composition. Her images play with tension and dramatic impact. They are candid but at times purposefully theatrical, tough and yet vulnerable, revealing both melancholy and joy.

The exhibition showcases 144 photographs Is that a little overwhelming. And why are they all displayed before wide strips of pink paint? Regardless, this show should be seen. It traverses the journey from Jerrems’ lesser-known early work to her iconic Vale Street 1975 and coincides with the 50th anniversary of her landmark publication A book about Australian women. Featuring portraits of cultural figures like Anne Summers, Bobbi Sykes, Evonne Goolagong and Linda Jackson the exhibition examines how the author’s work defined a decade and continues to shape our views of photography today.

But there’s no need to write about her best-known works here. Instead, I want to mention some less-known images. Firstly, Marilyn Monroe, the only portrait of a non-Australian. Is it really a portrait or rather part of a non-descript building on which hangs a framed Richard Avedon print of Monroe?

Carol Jerrems - Marilyn Monroe 1972

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems

Then there is Empty Corridor, which is not quite that. There are small silhouettes of unknown people at the corridor’s far end in this most interesting image.

Carol Jerrems - Empty corridor 1979

National Library of Australia

Manuscript collection (MS 10718)

© The Estate of Carol Jerrems

Much more significant is the inclusion of contact sheets providing valuable insights into the artist’s ways of working. Some show empty frames where images have been cut from the negative strips. Jerrems was very interested in the sequential nature of photography and often created contact sheets using strips of images taken on different film rolls, then exhibited those sheets as artworks alongside individual image prints.

Carol Jerrems - Contact sheet (Linda Piper) 1974

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems

Jerrems made her name during a time of significant social change. She explored activism by First Nations people, the women's movement, youth subcultures, other artists and musicians. Many of the latter were household names and those who were then young adult Australians will be reminded of times in their lives. There are images of loved actresses Enid Lorimer and Kate Fitzpatrick, of a pioneer of modernist painting in Australia, Grace Cossington Smith, of Aboriginal people including Rosslyn Johnson and David Gulpilil (with a bucket), of youths who became known as Sharpies, and of young friends simply enjoying each other’s company when school was out.

Carol Jerrems - Enid Lorimer and Kate Fitzpatrick 1974

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems

Carol Jerrems - Rosslyn Johnson 1973

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems

Carol Jerrems - Edols seeing Gulpilil with a bucket 1974

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems

Carol Jerrems - Sharpie couple, Melbourne 1976

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems 

Carol Jerrems - School's out 1975

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems

One image stands out for a number of reasons. Mirror with a memory: Motel room is the only colour image in the exhibition. Along with a shot of Grace Cossington-Smith, it is an example of the artist’s effective use of mirrors. And it is a revealing self-portrait of her and her lifestyle.

Carol Jerrems - Mirror with a memory: Motel room 1977
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© The Estate of Carol Jerrems

Carol Jerrems - Grace Cossington Smith, OBE 1974

National Gallery of Australia, Canberra

Gift of Mrs Joy Jerrems 1981

© The Estate of Carol Jerrems

The exhibition's last section is a collection of works that Jerrems photographed in hospital whilst battling the rare liver disease which led to her premature death.

This review is also available on the author's blog here.

An abbreviated version has been published online by Canberra City News here.