Multifaceted Artistry of a Young Composer

Dreamnote Unveiled

A Journey into the Multidisciplinary World of Noah Max

Noah Max

   

    I was deeply honored to receive a personal invitation to Noah Max's Dreamnote exhibition at The Tabernacle in Notting Hill. The showcase featured a compelling collection of expressive abstract paintings and emotional portraits.

    Noah, a young yet accomplished creator, primarily delves into the world of music. As a composer and conductor, he founded the Echo Ensemble Orchestra, and his debut album, "Songs of Loneliness," was published by Toccata Music Group in early 2022. His chamber opera, based on John Boyne’s "The Boy in the Striped Pyjamas," explores Max’s Jewish heritage and the history of the Holocaust.

    Diving into Noah’s artistic profile proved captivating, uncovering his mastery in music, paintings, video art, and poetry. Often compared to Baroque composers for his multidisciplinary approach, Noah's talent shines through.

    Displayed at The Tabernacle, "The Candle Lagoon" panels and the portrait of British musician and conductor John Whitfield are truly captivating. The first two pieces were created during a live classical concert, responding directly to the vibrations and emotions evoked by the music. The study for John Whitfield's portrait was crafted in the composer’s final days while battling cancer.

    In a conversation with Noah, I discovered the profound significance of dreams in his life. Much like the visions of the sleeping mind, his paintings invite us into a universe of spontaneous experiences and diverse interpretations. Intuitive paint splashes and broad brush strokes connect Noah with the legacies of Edvard Munch and Keith Haring.

    Meeting this gifted creator, whose artistic exploration spans multiple genres, was truly wonderful. I eagerly anticipate his next projects.

Noah Max - https://www.noahmax.net/

Agnes Prygiel / London / 25.05.2022

Pilar Corrias Gallery

Triumph of Femininity

Criticisms of Paul Gauguin in the art of a diasporic painter

Painting: Gisela McDaniel / Photograph: Agnes Prygiel

    Gisela McDaniel’s exhibition at the Pilar Corrias gallery in Savile Row in Mayfair showcases a collection of paintings of beautiful women in sexually confident poses, with pieces of jewellery attached to their faces. The artist mounts artificial flowers and small objects belonging to her sitters onto the canvas, making her works 3-dimensional, using the space on the sides as the continuation of the painting. 

Painting: Gisela McDaniel / Photograph: Agnes Prygiel

    The series of images and the accompanying sounds focus on diasporic Chamorro women, the indigenous community of the Mariana Islands in the North Pacific, who suffered sexual abuse and Colonial imposition. 

    McDaniel's strong criticisms of Paul Gauguin in her works is of significant importance. The Post-Impressionist was widely known for his fascination with the indigenous women of French Polynesia, who became the subjects of his paintings. 

    It was customary for the European colonists to take young females, often underage, as wives. Gauguin's controversial marriage to a 13-year old Teha'amana, as well as his later relationships, were not legally binding. By today's standards, his approach to young women would qualify as child abuse. As there is no legitimate record of the unions and because of their temporary nature, the artist's debatable private life is often dismissed as fiction, although he wrote about his experiences broadly in the letters to his friends. 

Gisela McDaniel's exhibition at Pilar Corrias gallery / Photograph: Agnes Prygiel

    Gisela puts beautiful women at the centre of her paintings. She also brings the attention back to the marginalised recollections of tribal minorities. Unlike Gauguin, she gives her sitters a voice, asks for their consent and makes their stories personal. She portrays her subjects in spaces that feel safe and inclusive. The pictures are linked to intimate recordings, where private confessions are being shared.

    There is a lot of sexual assertiveness and boldness in the artworks, as if in contrast to the underlying topic of exploitation. McDaniel’s luscious paintings are so suggestive, you almost want to smell the flowers mounted on top of the canvases. Pilar Corrias' gallery forms a stunning background for the elevated art experience. 

Paintings: Gisela McDaniel / Photographs: Agnes Prygiel

    In 1971 an art critic Peter Fuller wrote about Penny Slinger's first solo exhibition in Angela Flowers gallery in London: "It is a documentation of the role of one woman in a world still dominated by concepts of male superiority (...)". The comment is relevant to McDaniel's artistic work today. The difference is that this time it is not just one vulnerable female who speaks up, but many. 

    There is a sense of a collective experience of molestation and violation that women wish to be open about these days, claiming their stories and retelling them through the prism of their sensitivity, owning their physicality and eroticism. The exhibition is a triumph of femininity over the ages of misogyny in art. 

London 22.02.2022

Agnes Prygiel

DeCarava and Wylie

Afternoon at David Zwirner's

Artistically nourishing day out in Mayfair

Photograph by RoyDeCarava

I have a friend who visits London a couple of times a year and is always interested in art shows or doing unique things together. We went to see an exhibition of Roy DeCarava’s photography in David Zwirner Gallery at 24 Grafton Street. It was an artistically nourishing day out in Mayfair. 

Donald Byrd playing for the mountains, photograph by Roy DeCarava

DeCarava used to take pictures of famous jazz musicians he knew privately: Billie Holiday, John Coltrane, Donald Byrd, Hazel Scott and others. The exhibition showcases an atmospheric collection of black and white images from the 1950s and 1970s. They feel like a photographic notebook. Amongst perfectly executed shots are under or overexposed sketches, with the main character randomly positioned or out of focus. 

The intimate selection leaves you with a feeling of nostalgia. Fleeting moments recorded by DeCarava follow Monet's artistic legacy. Although he uses photography, some images look like impressionistic paintings, where imperfections and the passing seconds are of significant value.  

Billie Holiday and Hazel Scott in an atmospheric scene, photograph by Roy DeCarava

The exhibition has got some points of reference for every artist, like me, looking for inspiration or connection with the work of those before me, as if they were my mentors. It was interesting to see the private aspects of DeCarava's creativity.

On the top floor of David Zwirner Gallery, there was a small but precious selection of Rose Wylie's work. I wrote about her before, as part of my article about Frieze London 2021.

Rose is now in her late 80s, but she continues working as an artist. Her oeuvre improves with time, like a good wine. She is inspired by cartoons, often combining images with text in her 2D works. Her style is intuitive and sketch-like, capturing a symbolic meaning of the moment, rejecting photorealism altogether.

 

Pineapple by Rose Wylie / Photograph: Agnes Prygiel

Red Girl (no face) and Red Girl (face) by Rose Wylie / Photograph: Agnes Prygiel

David Zwirner presents a smaller version of Rose Wylie's famous pineapple, her primordial paintings,  drawings, and  powerful sculptures. 

Both exhibitions have a common element: they document the artists' creative process, not only the final, best work. It makes me realise the most talented minds in the history have a method of choosing the works they wish to present to a wider public or keep as mental notes for themselves. 

Agnes Prygiel, London 16.02.2022

December in the Stone Space

3-Dimensional Graffiti 

Lewis Davidson's Exhibition

Lewis Davidson “Tags”

    I first came across Lewis Davidson's artworks in November 2021 during his solo exhibition  in the Stone Space Gallery in East London. He presented a collection of graffiti tags sprayed on various surfaces such as doors, concrete slabs and wooden fencing, cut out of the original backgrounds. Displayed in a pristine surrounding of a white showroom, they resembled abstract sculptures. 

    The change of scenery resulted in a different perception of street art. Depending on the angle, images usually restricted to an urban landscape gained a new context, moving the viewers' imagination in a new way.

    I am particularly fond of street art because of its connection with everyday life and people. It takes a lot of courage to put yourself on the line while creating an artwork in the public space, risking being arrested by the police for vandalism, ready to pay the price for making a wall or a fence your own exhibition room.

Lewis Davidson “Combis”

    Davidson has got more exciting projects in his portfolio. Combis is a collection of colourful and playful ready-made sculptures constructed from tiny scraps of plastic found by the artist on the pavement. 

    Connecting with the legacy of Irving Penn, who found beauty and meaning in rejected pieces of consumerism, Lewis forms a dialogue within the texture of contemporary art. There is a link between his practice, works of Marcel Duchamp and early installations by Damien Hirst - projects "8 Pans" and "Boxes" from 1987-88.

    Davidson's ability to present his works in a professional exhibition environment is impressive. He forms an exciting narrative, reflecting on the relationship between an object and its' audience. I will be looking forward to his future projects, following his promising career with enthusiasm.

    Links: https://www.lewis-davidson.com

Agnes Prygiel, London, 20.01.2022

The Man Who Fell to Earth

David Bowie, Actor

    Coming across Bowie Season in the British Film Institute, I was surprised to learn how many movies this charismatic artist and performer appeared in during his lifetime. I always believed that singers are not particularly good actors, and they should not attempt to go beyond their careers as vocalists. Just like an interior decorator may not necessarily be a stunning plumber or a talented builder, although those fields seem to be related.

    Intrigued by David Bowie's acting, I went to see "The Man Who Fell to Earth" - a philosophical sci-fi drama from 1976, directed by Nicolas Roeg, a cinematic classic, a must-see for film connoisseurs. 

    The movie tells a story of an alien whose planet suffers from a catastrophic drought. Leaving his family behind, he comes to Earth in a human form, passing himself as a mysterious Englishman - Mr Newton. After acquiring enough money to see a patent lawyer, he introduces new inventions into the consumer market. He starts his corporation, soon becoming one of the richest men in the world. His goal is to gather enough funds to build a spaceship and save his family in the faraway galaxy. Unfortunately, his sudden rise to fame and revolutionary inventions attract competitors wishing to destroy him.

    During his time on Earth, Newton meets an innocent and sweet Mary-Lou. Beautiful and lonely small-town hotel attendant finds fulfilment looking after the unusual starman. They soon move in together, leading a quiet life despite Newton's success as a businessman. 

    Using no special effects, 3D modelling, or blue boxes, the story of an undercover alien visiting Earth to save his own family is believable. David Bowie in the leading role is compelling and captivating. Nearly 50 years since its' premiere, the story of a stranger finding his way in an unfriendly world remains relevant. Ambition, love and betrayal meet in this iconic picture, leaving us with some intense emotions and thoughts, just like a good movie should. Watching a production that requires attention and effort, not immediate consumption, feels good and refreshing. There are not many films like that anymore.

    For those, like me, intrigued with Bowie as an actor, there are more movies at BFI in the coming weeks - erotic horror "The Huger" and a rock musical "Absolute Beginners". "Just a Gigolo", starring also Marlene Dietrich, is another fantastic and controversial production, available on multiple streaming platforms.

     I must admit I made a mistake by not giving David Bowie enough credit for his acting. I was presumptuous, thinking that appearing in movies was driven financially after the success of his records or was perhaps a narcissistic expression of his deluded ego. I encourage you to experience his performance on the silver screen. There is something magnetic about this talented multi-artist who successfully crossed between music and film.

    Links: BFI - Bowie Season - Starman and the Silver Screen

Agnes Prygiel, London, 20.01.2022

Back to the Future Nostalgia for a New Generation of Fans

Put Your Mind To It!

    Since its premiere in 1985, "Back to the Future" has become a cinematic classic. The story of time travel, science and love, with Michael J. Fox as Marty McFly and Christopher Lloyd as the charismatic Doc, moved the hearts and inspired audiences worldwide. It couldn't have been less spectacular of a time machine than one in a DeLorean. 

    I was excited to see the musical based on the film in Adelphi Theatre in Covent Garden just before Christmas. Expecting to hear a couple of songs from the movie and view a performance in front of a fancy car, I was amazed to realise it was so much more than that! I was blown away by stunning special effects, top quality stage design and props made with attention to the most significant detail!

    It is an incredible challenge to recreate a cinematic experience in a theatre. Yet, as my art teacher would always say, limitations force one to think outside of a box and trigger the most spectacular work. The technology used in the show comes from railway engineering, where train turntables alter the locomotive's direction by turning the platform on which it is standing. A circular turntable at the centre of the stage allowed sets and the iconic car to be brought in and removed quickly. Complicated constructions, buildings and vehicles appeared and disappeared in split seconds. 

    The final scene redefined human perception: DeLorean lifted in the air with passengers inside and turned upside down in front of our eyes, unsupported by any hydraulic systems or lifts. It was magic!

    The acting was marvellous, with an exceptional performances from Hugh Coles as George McFly, Roger Bart as Doc and Cedric Neal as Mayor. The musical's morale, "You can do it if you put your mind to it", is uplifting. Everything is possible. Every significant achievement starts with a vision.

    I was impressed with the detail of Emmet Brown's workshop. With his tools, half-finished projects, scientific curiosities, vintage armchairs and dimmed lights, it was an atmospheric cross between a bachelor's shed and a secret laboratory. Once turned around on the stage, it would reveal the front of Lorraine McFly's house. It was astounding, as if looking at a coat with a colourful liner you can wear inside out and marvel at its multiple functions.

    The only downfall was the score. The songs that originally appeared in the movie were recreated with perfection. However, large sequences were added to the show, merging “High School Musical” and “Back to the Future” into one play. That idea did not appeal to me.

    Unforgettable illusionistic effects were designed by Chris Fisher - a professional magician known for his work on Harry Potter and the Cursed Child. I thought such tricks were impossible in front of a live audience. Yet, I was there in Adelphi Theatre in person, looking at everything with my own eyes,  blown away by the revolutionary scale of the project and the mystery of the scenes.

    I would highly recommend the show to everyone, especially families. It is an energetic attempt to bring back a cinematic classic we all know and have a personal connection with. It is never easy to recreate the same emotions and the atmosphere of the original movie. Let the story of an enthusiastic scientist, energetic teenager, time travel, and the stunning DeLorean enchant us again, this time on stage.

Agnes Prygiel / London / 15.01.2022

The Midnight Bell in Sadler's Wells

Longing for Love

My connection with Matthew Bourne's plays is personal. Being a friend of one of the cast members puts me in the position of a faithful follower who always watches all the shows, sometimes more than once. Having seen "Cinderella", "Romeo & Juliet", "Red Shoes" and the "The Midnight Bell", allows me to analyse the spectrum of sir Matthew Bourne's work.

This highly accomplished choreographer and director is always fascinated with things happening in the shadows of glamorous lifestyles, at the edge of a broad scope of vision. In his reinterpretation of a children's classic, Cinderella is a young girl growing up with her step-mother and step-brothers in a big house during the II World War, being molested by one of her older siblings. In his take on Shakespeare's iconic play, Bourne reimagines Juliet as a vulnerable young adult, living in a boarding school, experiencing sexual abuse from one of the guards, unable to break free. 

There is always a gay romance somewhere in the background, a subtle emotion of two men unable to express their feelings openly. 

Bourne's plays remind me of vintage photographs that somehow came to life. Fashion, gestures and movements carry the feeling of nostalgia, influenced by silent movies and musicals. 

There is a contrast between things happening during the day and the night. Darkness represents hidden desires, suppressed impulses, creating perfect hiding for those looking for tenderness. The director's visionary pieces are ultimately about love, our longing for a deep, passionate line of understanding with another human being.

At the centre of "The Midnight Bell" is a London pub and its' unusual clientele. Inspired by Patrick Hamilton's novels, the play focuses on five unusual affairs. 

The first is the relationship between the pub's manager and a local prostitute. Fascinated with the beautiful seductress, the young man falls for a woman who makes financial gain from love. How will he ever know if her feelings are genuine?

The second is a turbulent fantasy in the mind of an eccentric poet with mental health issues, obsessed with a famous socialite.

A married woman is dating a gigolo. Two gay men, one of them being a policeman, explore homosexuality. An older gentleman proposes to a waitress.

All the plots revolve around the fleeting desire to be fully understood and completed in a relationship. Following the threads simultaneously, we see them developing in multiple directions. 

Having read the reviews describing the play as dark and intoxicating, I somewhat disagree with those labels. There is an element of optimism and humour in "The Midnight Bell". Not all the characters get what they wish for, but in a way, neither does anyone in the real life. For me, Bourne's performances are always about hope for finding true love and fulfilment.          

I was delighted to visit the Sadler's Wells Theatre in London and see the play with my friend and an accomplished architect Peter Fitzpatrick, film director Ken Loach, his lovely wife Lesley and two daughters. After the show, we did not get to speak to Matthew Bourne in person, but we were thrilled to meet the cast. It was an exceptional evening for my friends and me.

Agnes Prygiel, 10.10.2021

Rob Birch in the Stone Space Gallery

I Know Kung Fu

Rob Birch "I Know Kung Fu"

Over the last couple of years, I passed by The Stone Space Gallery in Leytonstone many times, never having an opportunity to look inside. That changed last Friday when I attended the "I Know Kung Fu" exhibition preview by Rob Birch.

Inspired by the quote from "Matrix", Birch reflects on the issue of manipulated reality and freedom in Western society. His works consists of digitally modified graphics influenced by classical painting. The author uses a traditional portrait format, altering the area around the character's face, forcing us to look beyond the facade. 

With the dictatorship of social media, scrutiny of CCTV monitoring, intrusive advertising and distorted politics, free choice seems to be a slipping away privilege rather than our actual status. Birch encourages us to reject what is superficial and look deeper to find true answers and meaning.

"I Know Kung Fu" exhibition by Rob Birch

It was a splendid evening, with Rob Birch present in the gallery and the Stone Space team providing professional support. Experiencing art in person after so many months of the lockdown was a unique privilege.

www.robbirch.com

stonespace.gallery

Frieze Sculpture Exhibition

Colossal Pineapple & Environmental Awareness

"Frieze Sculpture" outdoor exhibition in Regent’s Park showcases three-dimensional installations by the world's most acclaimed contemporary artists. It touches upon climate, national beliefs and human conflicts. 

Rose Wylie's "Pineapple" 2020

As a cartoonist, I am particularly attracted to artworks that emanate colour and humour. Rose Wylie's playful "Pineapple" sculpture drew my attention straight away. 

Associating a simple object with a more significant meaning, the artist uses a popular fruit as a point of reference in her reflection on the social changes in the 20th century. Like pineapples - once a symbol of luxury - many privileges reserved to the rich are now commonly available. The perception of class differences shifted, and things out of our limits became attainable through time.

 

Anne Moris' "Stack 9 Ultramarine Blue" 2021

Although "Stack 9 Ultramarine Blue" radiates positivity, it is inspired by a traumatic event of the artist's miscarriage. Anne Morris created a truly magical piece out of the darkness of her misfortune. Resembling beads strung on a thread by a child, the artwork plays with proportions, vibrant colours and textures. Tragic personal experience has been a catalyst for a work that appears so carefree and accessible. It is a strong female voice on the contemporary art scene. 

Tatiana Wolska in front of her environmental sculpture

One of the artists presenting her work at the exhibition is Polish-born Tatiana Wolska, with whom I share the country of origin. Working with recycled materials, the artist focuses on environmental awareness. Using thermal welding and piercing to reshape plastic, she creates organic forms from rejected materials.

We use 1.5 billion water bottles globally every day. Rather than dismissing plastic as banal, the artist transforms it into new shapes. Suspended among the branches of an oak tree, her structures look meaningful and poetic.

 

Gisela Colon's "Quantum Shift" 2021, Stoyan Decher's "Even Horizon" 2019, Carlos Cruz-Diez' "Environment de Transchromie Circulaire" 1965-2017

More information about each piece in the form of an audio talk is available on the Frieze Festival's website. Frieze Sculpture free exhibition is open till the end of October 2021.

https://www.frieze.com/audio-guide-frieze-sculpture-2021

Stories Festival in London

The Invention of Honesty

After Life is a Netflix series about a cynical widower with suicidal thoughts who finds the reason to live in looking after his charismatic dog. Despite a serious subject, the production has become one of the most-watched British shows of the decade.

As part of the Stories Festival, a 3-day celebration of cinematic storytelling, I attended the meeting with the actor, writer and director Ricky Gervais, held at the Picturehouse Central in London. It was a large scale event with co-stars Tom Basden, Jo Hartley and Tony Way in the panel and over 200 guests in the audience. 

The inspiration for "After Life" came from the feeling of being restricted in expressing one's mind and opinions. "I wanted to create a fictional character who did not care about what he said and could get away with it", recalled Gervais in the interview about his journey from the script creation to the production of the popular show.

Come to think about it, After Life is an upside-down version of the world from The Invention of Lying. In his film from 2009, Gervais formed an alternative reality in which everyone tells the truth. In the Netflix series, we have a disingenuous world full of superficial politeness, with one man deciding to say whatever he wants, often provoking absurd situations.

The third season of "After Life" is coming. What can we expect? 

The guests mentioned the fear of watering down the script by the pressure of creating more episodes. The upcoming season may be the last one. 

Ricky Gervais spoke about how difficult it is to write a satisfying ending of a successful show without disappointing the audience or jeopardising the continuity of the storyline.

It was a great pleasure to participate in the meeting with the After Life's cast. My only regret would be that there was no opportunity for the audience to ask questions or speak to the actors.

Agnes Prygiel / London / 29.09.2021