We should think ourselves lucky to have a world class theatre group on our back doorstep. Since seeing The Beauty and the Beast back in August of 2015, we were impressed with the quality of the set design and the placement of the orchestra on the mezzanine above the stage. The seamless design adding to the experience of the show.

The production was saw was Blood Brothers by the Beenleigh Theatre Group is a complex and emotionally challenging musical to portray and yet the cast and crew brought the tragic story to life.

The Blood Brothers set before the show

Fiona Buchanan does an incredible job of portraying Mrs Johnstone, the single mother trying to support her large family with the Department of Child Safety breathing down her neck. Despite the hard choices she makes that ultimately shape the fate of her sons, Mickey and Eddie (Will Boyd and Travis Holmes), Fiona brings dignity and empathy to the role. Thus enabling the audience to identify with her every step of the way.

When the seven (almost eight) year old boys, Mickey and Eddie meet for the first time after living very different lives from birth, the show really starts to come alive. They bring a cheeky innocence and mischievousness that lights up the stage and the chemistry between the actors makes you forget that you are watching grown men perform as young children.

As the story goes, Mrs Johnstone’s hardships continue, but by now the audience identifies with her and see that as a trodden on, lower class, single mother she is also endearing and loves her children. And despite their differences, Mickey and Eddie continue to remain friends, tormenting Eddie’s adopted mother in the process.

Time marches forward and in the second half of the show, we see Mickey, Eddie and long-time friend, Linda (Aimee Monement) have grown up. During school breaks, when Eddie returns from private school, the three of them become inseparable. But their young and carefree time together comes to a close and so begins the downhill spiral that eventually brings the show to a close.

From the boyish charms of Mickey and Eddie as children, to the way their lives unfold as adults, director, Roslyn Johnson has brought this parable about class and privilege to life. There are only two shows left, so get on down and book your seat – you won’t be disappointed! (But take a box of tissues).

The Beenleigh Theatre Group relies on performance revenue, members, funding from government grants and partnerships, and their volunteers work tirelessly to complete the work for each show. Check their website for bookings.

Adam Buchanan is a Social Researcher and Community Worker, a musician, an artist and an all round champion. He is passionate about Animal Welfare, Arts and Culture, Education, Environment, Human Rights, Politics, Health and Social Services amongst other things. This month he visited Brisbane’s REDSEA Gallery and has been kind enough to give us his impressions of Kristian Williams exhibition: Electric Metropolis.

During the month of July, Kristian Williams’ neo-expressionist works are on display at Brisbane’s REDSEA Gallery. Inclusive of some 20 or more works, the exhibition takes up a considerable amount of space in this modestly sized gallery. The works themselves are acrylic and oil on canvas, which seem to have been applied with a mixture of techniques. The dimensions of these works varies, some being the size of the average dining room painting, while others reaching a respectable wall filling scale.

Kristian Williams, courtesy of the Redsea Gallery, Brisbane

A consistent theme within Williams’ work is the human form, specifically, portraiture of the face and upper body. Neo-expressionism sensibility has largely dictated the design of these figures, particularly, Williams’ has propagated of works by Jean-Michel Basquiat, to create twisted and abstracted realisations of human physicality. Their faces are skull-like, and boast teeth filled smiles or grimaces. Some of these figures wear easily identifiable objects such as feathered headdresses, or necklaces. However, in many instances the figures seem to be naked, removed from personal items of clothing. Although each work places the human form at its centre, in many cases these figures are also accompanied by other imagery.

Kristian Williams, courtesy of Redsea Gallery

The three works London gossip, Paris Gossip, and Rome Gossip, each depicts a person from the waist, a small bird, with an urban environment in the background. The individuals in these works each possess a single female breast, and while this does not confirm gender, it certainly comments on sexuality perhaps individualisation or confusion of sexuality. By combining imagery of urbanism, nature, and human form, with a frenzied and aggressive style, the viewer will question interactions between society, the environment, and the self. A great deal of the emotive quality of all of Williams’ works come from his use of expressive eyes, that in many cases seem to stare directly at the viewer. In Dreary Days we see a figure who appears tired and/or relaxed while in Paris Gossip a dazed look is present, and in each case these sentiments are conveyed solely by the eyes. Weaving around and between forms are arrows, lines, and dotted lines that allude to chaotic inertia. These lines also acts as a visual guide, steering the viewers gaze around the canvas to each and every focus point.

Kristian Williams, courtesy of Redsea Gallery

Williams’ use of colour is certainly the most impactful and obvious technique he has employed. Each work often prioritises one or two colours, one as a quasi-border that helps define the work, the other filling forms and enabling them to stand out, while intermingled amongst these dominant colours are spatters of various others. In every instance colours of a complimentary nature have been prioritised, their arrangements accentuating their oppositions, which creates bold and aggressively vibrant works of art. Indeed, the vibrance of these works bestows on them a sense of spectacle that demands the viewer’s gaze, one that I doubt the casual passerby could refuse. While Williams’ work clearly propagates artist Jean-Michel Basquiat, and to a lesser extent Norris Embry, Georg Baselitz, and even David Salle at times, the works do stand on their own as captivating and thought provoking.

Get over to REDSEA Gallery on James Street this weekend — for the annual Food and Wine Trail! Then pop in for the final weekend of Kristian Williams solo exhibition.

– Centro 2 27 James Street, Fortitude Valley, Brisbane. Ph 07 3162 2230.

Visit Kristian here:

kristianwilliamsart.com

Kristian Williams Artist – Instagram

Adam.

 Muted Expression 2015 by Tsherin Sherpa

Click here to see Tsherin Sherpa’s piece Muted Expression at GOMA Brisbane

In Muted Expression Tsherin Sherpa deconstructs and reinterprets traditional Tibetan Buddhist iconography in order to explore physical communication and engage with socio-cultural issues present in contemporary Nepal and Tibetan Buddhism. Many of Sherpa’s works are characterised by a mixture of bright and colourful acrylics, inks, and metallic leaf^[1]. His art often highlights conflict regarding Tibetan Buddhism’s relevance and interaction with contemporary global forces^[2]. The displacement of Tibetan people has also impacted his art and identity. Born in Nepal to parents of Tibetan ethnicity, Sherpa’s upbringing both educated him in traditional Buddhist thangka techniques and ingrained within him an identity intrinsically Tibetan – recently describing himself as a “Tibetan nomad”^[3]. Thus, Sherpa’s identity and worldview are fundamental to his artistic endeavours.

At first impression, Muted Expression depicts a seemingly chaotic jumble of humanoid limbs, hands, and feet mixed with serpent-like tendrils of varied thickness. Many of the humanoid appendages contort in unnatural ways; knees and elbows often bent, hands twisted or stretched out. The intermingling of form enables the viewer’s eye to explore the composition with a high degree of freedom. However, there is also a degree of unity through the combination of form and colour. Through this organisation two invisible lines emerge – one horizontal and one vertical – that divided the work into four rectangle sections of equal size. The overall use of form and colour create parallels between each of the four sections. However, the overall uniformity is not completely truthful; when looking closer the viewers see that individual forms are often divergent and altered in respect to their paralleled counter-parts. Thus, the work explores duality; chaos and unity; the parallel and the divergent.

Sherpa expertly uses medium to create contrast. All forms within the work are surrounded by platinum leaf. The varied texture of the leaf changes the degree of light reflected to the viewer simultaneously creating neighbouring areas of brightness and shadow. Furthermore, the polymer paint and ink absorbs the light resulting in a dullness or subdued appearance comparative to the platinum leaf. How the leaf’s reflections present themselves to the viewer depend upon the relationship between light source, work, and viewer. While each viewer may assume their visual experience of Muted Expression is shared by other viewers, in fact, the works interaction with time and space makes every view potentially unrepeatable. Thus, philosophic ideas regarding the viewer’s experience of art as unique are made tangible by Muted Expression’s interaction with time and space. Again, dualities are presented by Muted Expression; time and space, reflection and absorption, that simultaneously enable each viewer both unique personal experience and the guise of shared commonality.

Muted Expression use of physical gesture is a significant component for communicating chaos and unity, parallel and divergence, and emotive sensibility. Tibetan Buddhism’s iconography frequently incorporates the hands and feet of both historic spiritual leaders and deities^[4]. According to Sherpa^[5], Muted Expression fragments, re-imagines, and organises deity hands and feet in order to explore how gestures can convey meaning despite the absence of vocal language. Indeed, the gestures seem to communicate some form of spirituality, while the colours of hands, feet and corresponding limbs are inhuman and suggestive of humanoid deities. Furthermore, their emergence from a darkened obscurity — a background seen between forms — reinforces a sense of the unnatural or otherworldly. The serpent tendrils also emerge from obscurity, curling around the humanoid limbs. Within Tibetan Buddhism and to the Nepalese highland communities, snakes may symbolise negative emotions or the struggle to overcome anger^[6][7][8]. The serpent-like tendrils in Muted Expression writhe and curl around the wrists, ankles, and limbs, their interweaving and clutching nature implying captivity. At the same time, the shape of every element presented is curved and completely devoid of pointed angles that suggests a sublime restfulness. Again, Sherpa presents multiple dualisms: humanoid appendages and non-human tendrils, familiar welcoming forms and powerful otherworldly unknowns.

Sherpa’s art comments on socio-political conflict felt both by himself and the Nepalese region^[9]. His use of non-verbal hand gestures and multiple contrasting elements conveys hidden messages of duality. Thus, these contrasts present in Muted Expression likely echo the conflict within many displaced people residing in Nepal. With this in mind, the name Muted Expression suggests that Nepalese Tibetan Buddhists may have little voice to express their experience of displacement. Furthermore, larger global socio-political forces compel Nepalese Tibetan Buddhist communities to either assimilate or retreat into obscurity; one example being commodification of traditional thangkas for audiences who are un-familiar with and removed from the traditions of Tibetan Buddhism^[10]. Through Muted Expression, Sherpa has created a masterpiece of dualism and political commentary. Captivating in its visual decor, demanding in its political undercurrents, the viewer is enticed to gaze, wonder, and reflect.

Bibliography

1. Bazin, N. 2013. “Fragrant Ritual Offerings in the Art of Tibetan Buddhism.” Journal of the Royal Asiatic Society no.1 (2013): 31–38.
2. Bentor, Yael. 1993. “Tibetan Tourist Thangkas in the Kathmandu Valley.” Annals of Tourism Research 20 no. 1 (1993): 107–37.
3. Kathryn Brown.“Handprints and Footprints in Tibetan Painting.” PhD thesis. University of Michigan. 2000.http://search.proquest.com.ezproxy.library.uq.edu.au/docview/304607252/abstract/CCBDD8C2A5F4AC0PQ/1(accessed April 27, 2016).
4. Burnett, Katharine P. 2011. “Tibetan Buddhist Art in a Globalized World of Illusion: The Contemporary Art of Ang Tsherin Sherpa.” Modern China Studies no.2 (2011):23.
5. “Conversation with Tsherin Sherpa Interview.” by J DeBevoise. October 24, 2011. http://www.aaa-a.org/programs/conversation-with-ang-tsherin-sherpa/ (accessed April 27, 2016).
6. Ko, Hanae. “Tsherin Sherpa: Breaking Tradition.” ArtAsiaPacific, no. 96 (2015): 70–71.
7. Ramble, Charles. The Navel of the Demoness: Tibetan Buddhism and Civil Religion in Highland Nepal.(Oxford University Scholarship Online. 2008). http://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780195154146.001.0001/acprof-9780195154146 (accessed April 27, 2016)
8. Sherpa, Tsherin. 2015. Muted Expression. Synthetic polymer paint, ink and platinum leaf on canvas.

^[1]  Hanae Ko. “Tsherin Sherpa: Breaking Tradition.” ArtAsiaPacific, no. 96 (2015): 70–71.

^[2] Katharine P Burnett. “Tibetan Buddhist Art in a Globalized World of Illusion: The Contemporary Art of Ang Tsherin Sherpa.” Modern China Studies 18. no.2 (2011): 23.

^[3] “Conversation with Tsherin Sherpa Interview.” by J DeBevoise. October 24, 2011. http://www.aaa-a.org/programs/conversation-with-ang-tsherin-sherpa/ (accessed April 27, 2016).

^[4] Kathryn Brown. 2000. “Handprints and Footprints in Tibetan Painting.” (PhD thesis. University of Michigan. 2000) http://search.proquest.com.ezproxy.library.uq.edu.au/docview/304607252/abstract/CCBDD8C2A5F4AC0PQ/1 (accessed April 27, 2016).

^[5] “Conversation with Tsherin Sherpa Interview.” by J DeBevoise. October 24, 2011. http://www.aaa-a.org/programs/conversation-with-ang-tsherin-sherpa/ (accessed April 27, 2016).

^[6] N Bazin. “Fragrant Ritual Offerings in the Art of Tibetan Buddhism.” Journal of the Royal Asiatic Society 23. no.1 (2013): 31–38.

^[7] Katharine P Burnett. “Tibetan Buddhist Art in a Globalized World of Illusion: The Contemporary Art of Ang Tsherin Sherpa.” Modern China Studies 18. no.2 (2011): 23.

^[8] Charles Ramble. The Navel of the Demoness: Tibetan Buddhism and Civil Religion in Highland Nepal. (Oxford University Scholarship Online. 2008). http://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780195154146.001.0001/acprof-9780195154146 (accessed April 27, 2016)

^[9] Katharine P Burnett. “Tibetan Buddhist Art in a Globalized World of Illusion: The Contemporary Art of Ang Tsherin Sherpa.” Modern China Studies 18. no.2 (2011): 23.

^[10] Yael Bentor. “Tibetan Tourist Thangkas in the Kathmandu Valley.” Annals of Tourism Research 20 no. 1 (1993): 107–37.

Adam Buchanan

Don’t let it be said that Logan, despite its poor reputation, isn’t full of culturally vibrant and talented people. The cast of more than 700 singers, actors and musicians that took part in the Queensland Music Festival event Under This Sky, is enough to show you just how diversely talented our area is.

“The talent pool was an ocean.”  – Artist Director James Morrison

The premise behind the concert was to celebrate the different narratives of the people who live in Logan, to explore its heritage, its dynamism and cultural diversity, to share the opportunities and experiences and to celebrate its successes. It’s what we at Fringe have known all along. Logan is a diverse but talented city and by coming together as a community, we can make positive change in each other’s lives.

And that message came across loud and clear. We felt the energy as we sat on our rug before the stage, listening to the stories of the different people and the refugees who received their education, raised families and studied to become a part of our Logan community. After all Logan is home to as many as 217 ethnicities across 64 suburbs and events like this highlight that our diversity should not be a divider, it should be celebrated.

Our biggest problem is that when we walk away from an event like this and return to our everyday lives, we often forget how important it is to be inclusive, or we just don’t know how to connect. The arts are an important tool, if not the most important in bridging those boundaries because they provide a way to demonstrate different ways of living and thinking, without the conversational barriers that can sometimes occur.

Under This Sky

Under This Sky

Under This Sky

Under This Sky

 

The greatest aspect of events like Under This Sky is the opportunity it provides for our community to come together and collaborate. It gives programs like Traction that invite school aged youths to participate in workshops run by arts professionals a way to connect with other artists, all while promoting respect and acceptance in a diverse group. In combination these events and programs not only open career pathways into the arts, but they also provide a way for our youth to engage across boundaries.

“We can change the world one thought at a time, one child at a time, one family at a time, one community at a time, one city, one state and one country at a time.”     — Bryant Mcgill

Under This Sky was a success because of its message but in order for that message to resonate with the community and make a difference, it needs to keep coming. Our arts programs need to keep challenging us to celebrate our diversity and heritage and needs to be supported by ongoing efforts of inclusivity.

The supporting urban food truck and music pop up series, Eats & Beats, has the potential to be a great way to get people mingling and talking about our diversity. The international food trucks gave a great variety to most people (there were some vegan/vegetarian/gluten free options but not many) and the music was provided the right atmosphere of light hearted acoustic tunes and vocals. It would be a great way to involve the community and feature different cultural music and art every month as it already attracts a number of people.

For anyone wanting to know more about future events in Logan, arts programs and grants, opportunities or if you’d like to submit to us for discussion, please contact us on our Facebook page or via the Submit tab at the top of our site.

Ali x

Last Saturday night, we took our two girls to see the local production of Beauty and the Beast. It is always a risk to go and see a local production. The tickets were $25 each (with a 10% promo discount) and although I don’t mind paying to support our local theatre, I questioned whether it would be worth the money. Would the show be second rate? Would the talent be less than spectacular? For a family who tends to opt for free outings, $100 spent on a night out with the kids must be worth it .

Then we sat down inside the cosy theatre and the sparkle in their eyes (and the exclamations and the barrage of questions our 4 year old asked throughout the show) made us realise how important it is to share this mode of story-telling with them. And while we didn’t get a chance to see the show until its final week, we are writing this review to encourage more people to take the same risk and support your local talent.

“I regard the theatre as the greatest of all art forms. The most immediate way in which a human being can share with another, the sense of what it is to be a human being.” Oscar Wilde.

Since their first show, Oklahoma in November 1978, the Beenleigh Theatre Group have been continuing to entertain the local community with gusto. The group has grown with the area which started as a small farming town, to the diverse community it is today.

BTG has faced many hurdles and still thrives in the face of the growing costs of production and operating a theatre. The group now entertains with four major productions (musicals/plays) each year plus other various concerts and festivals. BTG also run a Theatre School (JETS) for children and teens – many of the students being given the opportunity to perform in those shows.

Their most recent production did not disappoint. The venue is small, seating roughly 150 which made the experience all the more intimate. The BTG crew did an excellent job with costumes and stage props, the orchestra provided the atmosphere without a hitch and the cast did an engaging job of retelling a Disney classic. What really struck us was the vocal talent of the cast, in particular Belle, Mrs Potts, the Beast and Lumiere. So much more is felt in the retelling of a story like this experienced in 3D. We look forward to the next local production.

The Beenleigh Theatre Group relies on performance revenue, members, funding from government grants and partnerships, and their volunteers work tirelessly to complete the work for each show. Check their website for bookings to their next production Gypsy in November, or if you want more information about their past or future productions.

The idea for Fringe was spawned by a trip to Melbourne in 2014 where an inner-city bookshop attendant of The Little Bookroom , imbued with enthusiasm, renewed our dream to create a place where people can share that same enthusiasm for literary culture, but also art and music, critical thought and philosophy. A place for the young, and the young at heart, where discussion is mandatory, passion is overflowing and freedom of expression is valued above all else.

Specifically, we will be reviewing local culture via our blog and upcoming podcast. Discussions will be ignited, some of it controversial, some of it moving but all of it will get you thinking and at its centre, we will be promoting Logan’s finest.

In the near future you will see a review of the Beenleigh Theatre Group’s Beauty and the Beast and keep your eyes peeled for their next show Gypsy coming up in November.

Have you attended the local Eats and Beats events? Or wondered about them? We will be reviewing that too in conjunction with the upcoming local music festival Under This Sky on August 1st and 2nd.

If you, or someone you know might be interested in submitting work for discussion and promotion please do contact us. We are looking for:

• Writers willing to read their work (prose/poetry) on our podcast
• Local authors with books for discussion via the blog
• Musicians with new music to be reviewed, live music included.
• Street artists and visual artists of any kind – submission for discussion on blog & podcast
• Comedians, Philosophers, Speakers
• Actors and local theatre companies with shows we can review
• Anything else you might like to submit!

Our only catch is that you must have been founded in Logan, currently residing in Logan or currently performing in Logan. Any questions? Just shoot us an email.

We look forward to meeting you!

Grant and Ali x