MIKE: The former Sacred Heart Chapel at Jane Winstone was the venue last Wednesday afternoon for a concert by the Andrew London Trio.
The popularity of these musicians, regular visitors to the city, was proved by the near capacity audience. Faced by a veritable sea of grey heads, the trio produced a programme which clearly appealed, mixing familiar tunes of an earlier era with several of Andrew's own compositions. Among the standards they offered were two of my personal favourites, You Always Hurt The One You Love and Till There Was You.
His own compositions consisted of extremely clever lyrics, combining satire and subtle humour, usually played at a rollicking rhythm. Songs of this nature rely heavily upon their lyrics, and it was a pleasure and a relief to be able to hear all the words, despite the speed of delivery. The clarity of Andrew's enunciation could serve as an example to many modern singers. He took aim at disparate targets. The staunch, unemotional Kiwi male in I Hugged My Mate; the self-centred egotist of Talk About Me; the clothing fashion popular among older cyclists, Middle Aged Man In Lycra; the problems faced by some senior members of society in adapting to modern technology, I Can't Keep Up. Every mother's apprehension of her daughter's bringing home a young male bedecked in rings (ear, nose, tongue, nipple), scraggy jeans (plus obligatory holes in knees), straggly, wispy beard and sweaty T-shirt was encapsulated in My Daughter's Got A Boyfriend. All were greatly appreciated by the audience.
The other members of the trio are Andrew's wife, Kirsten, also on guitar, and Nils Olsen, who provided a skilful accompaniment on saxophone and clarinet. The pair also offered backing vocals and individual items. A native of Whanganui, Andrew regaled his audience with stories from his youth, and it was especially pleasing that he introduced his aunt, Shirley London, well known to Whanganui theatre fans over several decades, and who was sitting in the audience. Intelligent, thoughtful, caring, gentle - these epithets are all applicable to Andrew, who is not only a talented musician but a genuinely nice person. Everyone enjoyed the hour in his company, along with his excellent fellow musicians. Do it again soon, Jane Winstone!
MIKE: On Friday the inaugural exhibition opened at the new Rayner Brothers Gallery at 85 Glasgow St. Under the auspices of Bryce Smith, a well-known patron of the arts, this gallery will add yet another dimension to the vibrant arts scene of our city. Number 85 is an old villa, numerous rooms branching off its single corridor. Both the brothers have studios there, as does an artist from Wellington, now living here. There are two major display areas. Gallery 85 is a space for hire by artists on a monthly basis, with the Rayner Brothers Gallery in the next room. Openings for the exhibitions of both galleries will coincide.
At the rear of the villa is an area which will house an Artist in Residence, a venture which it is hoped will begin early in the New Year. The intention is to attract both New Zealand and international artists for a period of up to six months. In addition, it is planned to open a cafe on the premises, hopefully by mid-October. The villa, purchased by Bryce, is organised via a Charitable Trust, and will become an important arts hub.
Last week's launch consisted of two exhibitions, Little Beauties, featuring six artists, and Damaged Goods, the 10th anniversary show for the Rayners. In the latter, several plates hanging on the wall have been decorated on a heavy black base, fires rising over hills in the background, with lots of people, faces resembling skulls, fleeing for their lives. Always up to date and with a facility for the 'mot juste', Mark has titled them Fire and Fury! Trump that!
Of the items displayed in Little Beauties, I was fascinated by the small, detailed and exquisitely crafted ceramics of Katerina Smoldyreva, from New Plymouth. Her Russian heritage, as Paul pointed out, is evident in the figures. They have gaping mouths, staring eyes, with grimacing faces and bodies twisted and writhing in painful contortions. The delicate shades of reds, blues and greens blend beautifully, each item receiving at least five firings to set the colours fast. Katerina explained that, at over 1000 degrees, this puts a huge stress on the clay. On several of her pieces a gilt finish predominates, and Paul told me that this colour is the last to be applied, being given one firing at a lower temperature. When completed, the works have an air of antiquity about them, like bloom on ancient bronzes. They produce a strange, paradoxical effect. That ugly gargoyle is quite beautiful!
