Tuesday 21 December 2010

While We Contemplate This


While We Contemplate This

It's not about you, it's not about me either
It's not about the birds in the sky or how deep is the river
& while we contemplate this why don't we kiss

You look me up, you look me down
& I can feel the way you talk to me, it's a beautiful sound
& as the story still unfolds, I hold your hand in the dark & wonder
Could our lust turn to love

It's not about you, it's not about me either
It's not about the birds in the sky or how deep is the river
& while we contemplate this why don't we kiss

You reel me in with your longing stare
What's underneath - the logic's bare, is there a heart in there to feed
& although your hands can do a little dance all through the show
It's not romance, as such, it doesn't go that deep

Another verse, another man to muse upon
and it's not long before you're under my skin
I caught a glimpse of something more inside the heart
The mind, the soul of you - it's burning from within

In your stream of thoughts I’m free
A figurine amongst the debris
Look at us in the battle dust
Our little hearts are just caught up
And in your flow of words I fall
I made a veil with them, that’s all
I slip away in your refrain
This tenderness caught in a flame

It's not about you, it's not about me either
It's not about the birds in the sky or how deep is the river
and while we contemplate this why don't we kiss

Written, performed & produced © ℗ Gaynor Perry

Tenderness Caught In A Flame
70 x 70 cm, oil on board

Thursday 9 December 2010

The Spy

The Spy was originally a character from a painting I made called 111. She is one of an ensemble representing my imaginary childhood friends. For my first solo exhibition I wanted to bring the beings in my paintings to life and photography became the portal I was looking for.

The individuals who portray my beings in the photographs are chosen because they already possess qualities inherent in the concept and are willing to surrender themselves to the creative unfolding.

The Spy from my painting, 111.

Hair & Props: Estelle Riviere
Concept & Photography: Gaynor Perry

...'scuse my French

Friday 12 November 2010

Monsterlune Performance at Torture Garden

I was delighted to be asked to play the PURPLE CAT in Estelle Riviere's Monsterlune performance at the Torture Garden Halloween Ball this year. It was the best fun I've had in ages.

Here are some of the photos that Anne Laymond took of the show, it was a "Diabolical Wedding".

Some backstage shots I took on my phone:

The Bride

The Groom

One of the kids ...

... So mischievous, we had to take this crazy kid on an outing

To be continued ...

Estelle Riviere

Sunday 27 June 2010

From the Notebook of Prade the Figgis

2nd of August

For my own entertainment, I wept today. Shut up me for wimbling on, gasping. Afraid to bend for three days with broken, crossed-out eyes, and looking very shifty. Figgis. Merging uncertainly with columbine, spiders creepy crawling. Off with me to the lanky tree line, careful not to step upon bending grasses. How long did it take me, Prade the Figgis, whilst wallowing in the meagre satchel?

3rd of August

Concubine, tuft and trumpton are all good words to use when talking to grasses. It is one of life’s greatest pleasures to listen to their music and to embrace the topsy-turvy images they conjure up. Figgy me. Last night I tangled and wrangled in the emotional threads of someone else’s brain fever and now feel the need to voice my concerns, but to whom? My day undulated with the fall out and I wonder whether I should be sitting in that special space. I’m waiting for the marshes to dissipate, waiting to disappear.

5th of August

I’ve been fly catching – not a pretty sight. Flummoxing around like a fool, blurting out. At odds with myself actually. On recollecting, mustering up, pre-fabricating I must hover. Poor rabbit, he drew near but only because he was dying – his nose bitten. Forgotten in a bed of thistle down. I called over to the goats and they came and kissed me – beautiful it was. They climbed up to show me their ancient horns. I touched them and wondered whether they were forever. I think so Figgis.

6th of August

GĂ©rard Depardieu has also got a big nose. He blew it hard one day and I felt it from here.

8th of August

Been busy. Squabbled with myself when I awoke, then thought of nothing while I filtered through soil with my fingers. I toyed with the idea of erecting a monocle until the jezebel hussy ripped through from the other side, sounding like wind whipping through ice sheets. Shivering insect rhythms. I can tell no one about this, apart from my big toe who is a very good listener. Meanwhile, a wood pigeon flew my way. He fluttered and whistled, turning at a steep angle. Seeking refuge from my gaze in nearby branches. Quite an uncanny manoeuvre I thought, I must have made him start. Flap, flap.

Prade the Figgis

oil on board, 50 x 50 cm

Some thoughts about creating this painting

I  approach painting with the spirit of adventure.  I enjoy engaging with what emerges on the board. Especially when a painting is unplanned and develops through a process of refinement, thoughtfully.

Seeking a dialogue with it is part of that refinement process. "Who are you?" Is a question I often ask. The perceived answer in this particular case is, "Prade the Figgis." Prade by name and Figgis by nature. A kind of faun, if you will. I want to inhabit this being and his surroundings. 

In the way one can anticipate a melody and feel where a tune is heading, this is how I follow my imagination; and the more credence I give, the more perceptible the response.

I began the painting after a long walk in Waltham St Lawrence where I encountered the goat in the photograph below.

Friday 25 June 2010

Twilight Shift - Lucha Underground


Lucha Underground at the Resistance Gallery was, quite frankly, beyond my wildest dreams. It's full speed ahead on the visual feast. Sexy. Exciting. Mad. A truly spirited evening.  I put together this TWILIGHT SHIFT  as a memento of the occasion with the photographs I took that night, accompanied by my composition.

I've written parts for Sarah Anne Robins (flute) and Robert Schuck (clarinet) on several pieces. They bring great warmth to my music. I particularly admire their improvisations, I think they really enhance the atmosphere of the tune. The Turkish Nay which Robert plays, in particular, adds a wonderful layer of spooky mist.

Here is more Lucha Britannia talent.

Philip Bedwell . Marnie Scarlet . Tammy Torture . Benjamin Louche . 
Garry Vanderhorne . Shiro Yoshida . Miranda Barrie . Jonathan Ross

RESISTANCE GALLERY 265 Poyser Street Bethnal Green London E2 9RF