Exhibitions

Show of Film Stills by Mark Tillie, Ernest Jones room.

                                      ‘Hurry Up And Wait’

                                       film stills by mark tillie
                                      Byron House sept- nov 2005

We are very pleased to have the work of Mark Tillie on loan to us.

 Mark has worked as a film stills photographer for many years on a number of very well known films, as well as for magazines and has exhibited his personal work. He has an interest in portrait and documentary photography and his work was recently included in The John Kobal Portrait Awards at the National Portrait Gallery.

The selection of photos here are from a number of films and show something of the process of film making, the evolution of the finished product from seeming chaos. “Welcome to the world of Hurry Up and Wait” is an expression sometimes used to greet newcomers to film sets. It refers to the need to wait, frequently for long periods in a state of preparedness, not knowing when you will have to move into action.

Mark tries to photograph the actual performances of the actors rather than doing stills afterwards or in rehearsals; this means being as unobtrusive as possible. The Stills Photographer is often on set for the entire shooting of a feature film and works within the complex group dynamics and hierarchies of film production. Some of the photos here have been used as official publicity and marketing stills, others were taken as part of the photographer’s documentary of the film in its making.

T. Naidoo, Hon Curator, September 2005

Mark’s work can be seen at 'fotographique':

 http://www.fotografique.com/images.php?pht=00000006

Paintings on loan

There are 2 works by Anthony Whishaw, on loan from the artist, in the Ernest Jones room;

Landscape II 1990, acrylic on canvas 48'' x 120''  shown below and Landscape with Startled Birds 1986-1999, acrylic collage on canvas, 96'' x 65''.

There are several large works by the artist Anthony Whishaw on loan to the British Psychoanalytical Society (details to follow). His website can be seen at:

www.anthonywhishaw.com

LANDSCAPE II (1990)

From ‘Art and the Sacred’, by Sister Wendy Beckett.

Anthony Whishaw aligns himself with the Romantic artists, at least in the sense that the Romantics want to take on board something greater than themselves, almost more than they can manage. It’s a way of trying… to create something that uncovers unexpected feelings and emotions.’ Whishaw is profoundly committed to the ‘uncovering’ of the ‘unexpected’. Although his work is based on figurative perceptions, it is more the anticipation of reality that interests them. He speaks of the image being at its most powerful shortly before it is perceived.’ Before we pin labels to things, locking them away in certainties of recognition, we have a rare opportunity to ‘see’ them in their truth. This is the area in which Whishaw is active, catching the wonder of the world before it is obliterated by familiarity. . .

Landscape II has a radiant inner glow, all ochre and pale fire. We see the world as infinitely large, glowing and sunbaked in all directions. In this uncharted dessert, the small village, un-named, clustered compactly for protection, displays a brave insistence on regulation. Its roofs and patios, its vertical thicknesses of wall, its patterned sedateness of roofing and flooring, all react against the encompassing heat of the Spanish plateau lands. Along the left there runs a pattern of non-objective slats, like Venetian blinds, (an image that has a special significance for Whishaw), making it clear to us that this is not a realistic ‘landscape’, but the idea of one, the interior reality of the land and its humble inhabitants. Whishaw has remarked that ‘the fact that humans have passed through a landscape means that they have inevitably left their mark’. Literally, there may no longer be a village here. Spiritually the village is there forever. For all its rich beauty, Whishaw’s is a sad painting, conscious of human passage, of the shortness of life, of the need to cherish, to individualize, as he does with such reverent care.

LANDSCAPE WITH STARTLED BIRDS 1986-1999

This is one of a series of 4 works which depict startled birds whose fluttering panic disrupts the portrayal of the surrounding landscape. The low horizon in this painting is intended to convey a sense of vertigo- Anthony Whishaw

Both works are on loan from the Artist.