Ella Rose Muse: the story: Sharps, Flats, Shapes & Curves

Sunday 28 April 2013

Sharps, Flats, Shapes & Curves

Another quick update, hot off the press after a weekend off which has revolved around a family dinner, seeing friends, lunch dates, a vintage fair, walkies and the management of french pronouns (le/la/les before lui/leur, but vous/me/nous before le/la/les. FYI) with my buddy Michel Thomas and his slightly irritating female student who delivers every phrase in a breathy monotone, I just wanted to show a collection of shots taken recently at mine and Ivory Flame's 'duo' day at Eye For An Image Studio in Banbury. The theme was 'Shapes and Curves'. Between us, we've definitely got some shapes and curves; and it's nice to hang out with my good friend Holly in front of the lens.

Four photographers attended, one after the other, and I'll post some of my personal favourites from those I've been shown.

Hit this (Satie's Gnossienne 1) for an instant soundtrack as you scroll down; you'll probably recognise it from various films, including the gorgeous Chocolat (which is fitting, as I've just finished my Easter chocolate):

(I've requested a bit of light relief on the side while I finish learning Liebestraum, the ultimate romantic masterpiece, due to my utter inability to sight-read after a ten year gap making it a bit of a sudoku-style brain training practice not to mention the necessitation of finger strength excercises that make my wrists want to die, a bit; it is getting there though and sounding better and better each day, but Satie is always so evocative and beautiful, and pleasingly simple to pick up on the first run-through, thank God. So now I have the ultimate procrastination piece to linger over when my frustration at the same chord appearing twice in the same bar but with every single note accented differently starts to bubble... C FLAT IS NOT A NOTE. NOR IS E SHARP. Let's call it B and F, shall we? AARRRRGGGHHHH. F DOUBLE SHARP, SURELY, IS SIMPLY G. I'd been away from the game so long that these 'amusing', 'helpful' quirks have had to be relearned until they can be calmly ignored/memorised, which brings me to...)

By James ('CalmNudes'):

By Mark Bigelow (who is now doing lighting workshops on his improvisational way of working; it's a lot of fun to prance in his playboxes of shadows!):

By Prashant Meswani:

And by Eddie Ray (including a single exposure during which two become three):

Thanks photographers! :-)

Walter De La Mare, 'The Listeners'

‘Is there anybody there?’ said the Traveller,

Knocking on the moonlit door;

And his horse in the silence champed the grasses

Of the forest’s ferny floor:

And a bird flew up out of the turret,

Above the Traveller’s head:

And he smote upon the door again a second time;

‘Is there anybody there?’ he said.

But no one descended to the Traveller;

No head from the leaf-fringed sill

Leaned over and looked into his grey eyes,

Where he stood perplexed and still.

But only a host of phantom listeners

That dwelt in the lone house then

Stood listening in the quiet of the moonlight

To that voice from the world of men:

Stood thronging the faint moonbeams on the dark stair,

That goes down to the empty hall,

Hearkening in an air stirred and shaken

By the lonely Traveller’s call.

And he felt in his heart their strangeness,

Their stillness answering his cry,

While his horse moved, cropping the dark turf,

’Neath the starred and leafy sky;

For he suddenly smote on the door, even

Louder, and lifted his head:—

‘Tell them I came, and no one answered,

That I kept my word,’ he said.

Never the least stir made the listeners,

Though every word he spake

Fell echoing through the shadowiness of the still house

From the one man left awake:

Ay, they heard his foot upon the stirrup,

And the sound of iron on stone,

And how the silence surged softly backward,

When the plunging hoofs were gone.

Natasha Khan/Bat for Lashes, 'Horse and I'

Got woken in the night,
by a mystic golden light.
My head soaked in river water.
I had been dressed in a coat of armor. They called
a horse out of the woodland.
"Take her there, through the desert shores."
They sang to me, "This is yours to wear.
You're the chosen one, there's no turning back now."

The smell of redwood giants.
The banquet for the shadows.
Horse and I, we're dancers in the dark.
Came upon the headdress.
It was gilded, dark and golden.
The children sang.
I was so afraid I took it to my head and prayed.
They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."
They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."

Mark Doty, 'A Display of Mackerel'

They lie in parallel rows,

on ice, head to tail,

each a foot of luminosity

barred with black bands,

which divide the scales’

radiant sections

like seams of lead

in a Tiffany window.

Iridescent, watery

prismatics: think abalone,

the wildly rainbowed

mirror of a soapbubble sphere,

think sun on gasoline.

Splendor, and splendor,

and not a one in any way

distinguished from the other

—nothing about them

of individuality. Instead

they’re all exact expressions

of the one soul,

each a perfect fulfilment

of heaven’s template,

mackerel essence. As if,

after a lifetime arriving

at this enameling, the jeweler’s

made uncountable examples,

each as intricate

in its oily fabulation

as the one before

Suppose we could iridesce,

like these, and lose ourselves

entirely in the universe

of shimmer—would you want

to be yourself only,

unduplicatable, doomed

to be lost? They’d prefer,

plainly, to be flashing participants,

multitudinous. Even now

they seem to be bolting

forward, heedless of stasis.

They don’t care they’re dead

and nearly frozen,

just as, presumably,

they didn’t care that they were living:

all, all for all,

the rainbowed school

and its acres of brilliant classrooms,

in which no verb is singular,

or every one is. How happy they seem,

even on ice, to be together, selfless,

which is the price of gleaming.

Kate Clanchy, 'Poem for a Man with No Sense of Smell'

This is simply to inform you:

that the thickest line in the kink of my hand
smells like the feel of an old school desk,
the deep carved names worn sleek with sweat;

that beneath the spray of my expensive scent
my armpits sound a bass note strong
as the boom of a palm on a kettle drum;

that the wet flush of my fear is sharp
as the taste of an iron pipe, midwinter,
on a child's hot tongue; and that sometimes,

in a breeze, the delicate hairs on the nape
of my neck, just where you might bend
your head, might hesitate and brush your lips,

hold a scent frail and precise as a fleet
of tiny origami ships, just setting out to sea.

Pages

Sunday 28 April 2013

Sharps, Flats, Shapes & Curves