Artist Gilly Marklew's impressions of Ockham’s Razor’s Not Until We Are Lost
More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
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18 December
Watercolourist Gilly Marklew at the dress rehearsal for Ockham’s Razor’s (@AlexOckhams’s) show at Cambridge’s Corn Exchange, Not Until We Are Lost
Moonlight Sonata (© Copyright Gilly Marklew 2009)
It is a pleasure, which is ever present, to retire in contemplation of this watercolour, and to be wakeful with it after sleep :
The best art, whatever its apparent simplicity may be, one can live and grow with, because it has this quality to it that it never ceases to give as the eye explores, and re-explores, the felicities of construction and execution.
Partly, that is a question of the richness that keeps coming to the eye, but that richness is not simply in the work, but came from somewhere : Gilly Marklew has been known as a dear and gifted friend for more than half-a-dozen years, and, much as she might play down her intellectual side, her essential gifts of copying in image, word and sound, and her love of inventiveness and fun, are central to what makes her work special and alive – coupled, of course, with a strong sense of line, form, colour, and the dynamic power within a composition*.
It was a special pleasure, by invitation from the marketing team at The Corn Exchange, to bring Gilly along to the wonderland of expression that was last night’s dress rehearsal by aerial-theatre group Ockham’s Razor. In the event, she did not find herself with enough light to make use of her supply of sketching material, and the action anyway proved a little too swift for the medium, but she relished the clarity with which the subjects in the performance had been lit, and she took in image after image through her camera-lens, some of which have been shared in the original response to the evening.
A pose and a face such as this, that of the group’s Telma Pinto in the solo opening of the show, is classic material for Gilly Marklew : the timelessness of the expression, look and gesture
Since last night, the show has been seen again, and a short discussion with cast and crew took place, and Gilly has been making sketches after the fact, using what attracted her when she saw through her lens. On this first one, she comments :
I wanted to play up the interconnected movement and love story as I saw it, [without the climbing] poles, to emphasize the aetherial.
An original sketch, by, courtesy of and © Copyright Gilly Marklew 2014, based on images taken at the dress rehearsal
The other sketch available so far is an ensemble piece, about which Gilly says This is a bit rougher, but there was more energetic movement in this scene, so it merited a more vigorous approach.
An original sketch, by, courtesy of and © Copyright Gilly Marklew 2014, based on images taken at the dress rehearsal
In some key-words, after the matinee, this Tweet sought to use language to describe how this part of the performance looked and felt :
With her painterly perspective, here describing her artistic approach and process, Gilly uses these lovely phrases ‘vigorous approach’ and ‘interconnected / energetic movement’ : for us, those descriptions may be in the same relation as are our internal attempts to encompass, through our senses, the performers’ work in Ockham’s Razor, and to find ourselves touched and emboldened in our responses :
In the live show (as against with a smaller audience at the dress rehearsal), we had this sense of atmosphere from sharing what we felt about the different scena as they unfolded Рall at once and in the moment : for they do unfold, not as origami figures might, but with the delicacy and precision that we might, say, associate with the construction and appeal of a Faberg̩ egg.
After the show, in response to questions about working with Graham Fitkin on his score (as beautifully performed by harpist Ruth Wall), Alex Harvey said a little about what had gone on, after they had met him, between Alex’s fellow directors Tina Koch, Charlotte (‘Lottie’) Mooney and Graham, seeking to communicate through the language of moods a conversation about the score, and helping it to take shape. Now that we have it, though unfortunately at this venue Ruth cannot be present to play live, the music feels integral to the piece...
The life of the work is in its performance, and its performance is inseparable from the immersive participation of us being there, reacting to sound and visuals (from, all the time, the actors, from Ruth, and from each other), and to the sheer drama of limbs and bodies that are flying and interacting through space and time – the actors knowing their parts and abilities so well that they are in, and simultaneously are, the vigour and interconnectedness of which Gilly speaks :
In her pastel interpretations of moments from Ockham’s Razor's Not Until We Are Lost, in finding her own relatedness to the energy and imagery, Gilly shares with us wonder and amazement that even the performers themselves seem to feel just about being alive in, and having such power of motion within, our physical world.
Artist, and Bauhaus lecturer, Paul Klee is famous, in art circles, for opening his Pedagogical Sketchbook** with this proposition (from which the work, and its teaching, develop) :
An active line on a walk, moving freely, without goal.
A walk for a walk’s sake. [emphasis added]
In the second scena on the large apparatus (whose first reaction to seeing which Telma Pinto delightedly described to us as like a playground), when it becomes hinged as like a gate, we have yet another moment of discovery – it is as if another Peter, Susan, Edmund and Lucy (from the Narnia novels) were playing as Lucy does with Aslan (after The Stone Table), all four enjoying a game of chicken with it :
Running, as one does on a beach, towards the roarers of the ocean, and then squealingly away again, even more quickly (if possible), at a sudden appreciation of the sea’s might. All its nimbleness and experimentation – as if for the first time – caught in the hope of Graham’s score, and in the magic depicted by Ruth’s playing.
Whether evoking metallicized percussion, the picked notes of guitar, or of plucked instruments (as of a lute or thumb-piano), the boundless sound-world of Ruth and Graham's music, just as with the variety and variation of Gilly's palette, are all emblematic of the richness in Not Until We Are Lost, that we
begin to find ourselves [...], to learn the points of compass again as often as [we] awake, whether from sleep or any abstraction
[Henry Thoreau, Walden, chapter 8, 'The village']
End-notes
* As Gilly shared just on the night of the dress rehearsal, Moonlight Sonata relates to an image by Henri Cartier-Bresson that she once found and pasted into her source-book : she had seen, in his photographic image, the classicity of The Three Graces, and had – with some of her favourite sitters (not least the one placed centrally) – created her own version, looking back, beyond him, to what she thought had inspired him.
** So published in the UK by Faber & Faber Limited, London, 1953, in translation of Klee’s Bauhaus text from 1925, Pädagogisches Skizzenbuch.
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
