Wall art added to Open Studios

Jacob Chrisohoou works on his piece for Whanganui Walls. PICTURE / JOAN STREET

JOAN: Wall art in Whanganui was an exciting part of the second Open Studios Weekend. There was a real buzz around the central city as people armed with a cute (free!) little booklet examined each of the eight spaces allocated to the artists and watched each painting grow over four days. Well respected artists came from many places. The most focally-placed work is now in Ridgway St and will remind all of us who live here that Edith Collier was our "artiste extraordinaire" and will introduce her work to tourists and new inhabitants. The picture of Edith is very endearing, and, though on a very large scale, has an intimacy about it which will allow her to be quickly "owned" by us all. Thank you to American, Detroit resident Pat Perry who creates wall art all over the world professionally.

I loved the cherry pickers that each artist had available to them and it was fascinating to watch each painter move with skill around their work. The textures of the walls themselves made for difficulties but most artists had used the brick versus plaster versus corrugated iron to their advantage. The donkey on the wall in Rutland St now has a zany companion from Cracked Ink and there are stunning faces of Maori women by Australian artist Claire Foxton in Maria Place.

Two new works have appeared in Taupo Quay as Market backgrounds. Gina Kiel from Wellington works in vibrant colours and her creature will be viewed as an exciting addition to "Awa Art". Cinzah, from Napier, is another artist who has travelled widely, with his art created in many exotic and varied countries. I find his work more difficult to accept but that means I shall go back often. Amok Island is the name of the creator of penguins for Drews Ave! He is Dutch born and lives in Australia and, if not an artist, says he would have been a biologist! Elliot Francis Stewart's reclining figure is delightful. I loved his colours and use of space and, once again, I think the city will adopt him quickly. Strange but wonderful is Hayley Welsh's "thing" and I think that Thing will be the name I shall give her work. British, she has had exhibitions in London and New York. I enjoyed very much watching the delicate creation of her work here.

I met one or two of the seven students of this art style who are fortunate enough to be mentored by these distinguished artists during their time here. They expressed themselves as a group on an insignificant, low, yellow wall beside the penguins and they gave it vigour, light, and some hard work. How fortunate for them — and us! How lucky we are to have had such distinguished artists of this medium come here and add so much to our central city's personality. Mind you, Whanganui deserves the best!

I am keeping my best till last. My favourite piece of wall art is on the curving wall to the right of the "mentored wall". This inspiring work has been created by guest artist, Jacob Chrisohoou from Rotorua. I find this portrait to be quite wonderful. The lady looks upwards and her soul is there to see and feel. Her hair is superbly portrayed and her eyes communicate sorrow, hope and joy. I would have loved her wherever she emerged but here she is a taonga. Jacob has such mana and warmth. He loves Whanganui and we shall treasure his work and hope to welcome him back.

MIKE: Another new concept for the Open Studios this weekend, and what an experience it was! On Saturday afternoon we attended the first of three performances by Whanganui Brass in the Opera House, the audience gathering in the backstage area, where afternoon tea was served, before being invited on stage. And yes — we were actually on the stage itself, the layout rotated by 90 degrees. In front of one wall sat the brass band, faced by the chairs of the audience. To our left were the dressing rooms, to the right the heavy security curtain, separating us from the auditorium, thus providing a smaller rectangular area, quite intimate, for the occasion.

Sound Canvas is described as "a performance of music, visual art, movement and theatre in a space which allows the audience to be surrounded by a visual and musical experience. Immersive, fascinating and inspiring". All quite true! Under the direction of the eloquent, effervescent, enthusiastic and encouraging Bruce Jellyman, Brass Whanganui gave us an afternoon worthy of being long remembered. "Exciting" was Bruce's simple choice of epithet in his pre-match warm-up talk to us, and the production certainly lived up to it. Extremely effective low lighting, shadows playing on walls and ceiling, a screen with works from our local artists projected on to it — all helped to set the scene. Also, for an additional effect, we could dimly make out a spectral vision, with long, flowing white locks, lurking high up amidst the shadows. The ghost of Silas Marner? Our very own phantom of the Opera House? Somewhat disappointingly, we realised it was merely that backstage stalwart, Jim Ennis!

And then ... that first piece of music! It is an incontrovertible fact that certain combinations of notes can engender a physical response in the listener, causing hair to stand on end and tear ducts to be pricked into motion. O Magnum Mysterium (Morton Laurenson) produced exactly that effect. Low, sonorous notes, as we settled into our seats, gradually, imperceptibly morphed into a glorious crescendo of superlatives, setting those hairs and ducts into action. Beautiful! (Next year boxes of tissues should be available!)

Throughout the whole programme, musicians would unobtrusively slip out of their seats and take up position at the sides, or behind us, delivering an effect quite different from usual, when the band plays directly in front of an audience. "Antiphonal" was used by Bruce to describe the sound. "Periphonal" is the word I have coined to describe this all-embracing, wrap-around sound. ( For those reading this article, please note that you were there at the birth of this delightful adjective, with its gently lilting rhythm!)
Interspersed in the proceedings were brief poetry readings, including works by Sam Hunt and JK Baxter, which melded seamlessly with music and movement. At one moving moment, a dozen band members lined up at the front, chanting most plaintive notes, without words. It was reminiscent of a church choir, especially as they made their way through the audience to the rear wall. Most familiar to the majority, I imagine, were Ravel's Bolero and Mars, Bringer of War, from Holst's Planet Suite. Stirring and rousing, they received exceptional treatment from the band. The climax was Space Chords, when all the musicians were dispersed round the audience. With extravagant gestures of his conductor's hands, Bruce swept the sound round the room, enclosing us completely in music, isolating us from the world. It was amazing and beautiful, the sonic equivalent of a Mexican wave! The best word to describe it? Periphonal!

We are so fortunate to have so much musical talent in our city, talent which has been recognised by an invitation to participate in a brass band symposium in China in September. Xian and Shanghai are the cities they will visit. Money is needed to fund the trip, naturally. Further details can be found on their website.

JOAN: The untimely death of the so very special Karen Ellett left so many of us with a feeling of deep personal sorrow. It is still hard to believe she isn't just round a corner. She left in the cherishing care of her dear friend, glass artist Katie Brown, a fine amount of finished and unfinished glass work. Katie showed some to Mike and me last Sunday. It is lovely: Katie intends to auction it at the Glassworks later this month. Here is such a chance to possess a tangible memory of Karen's creativity and skill and the proceeds will go to Karen's daughter, Jade. Look out for Press reminders so as not to miss this.
Comments and suggestions to mjstreet@xtra.co.nz