ALAN McGUIRE welcomes the complete poems of Seamus Heaney for the unmistakeable memory of colonialism that they carry
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Visions of horror and joy
ANGUS REID welcomes the retrospective of a unique photographic artist for its demonstration of new avenues in British art, and the human insight it delivers
(L) Bosnia Journeys, 1997 - 1998, black and white image projected onto hand painted photographic emulsion on watercolour paper; (R) Flotsam and Jetsam showing Welsby’s reflection in a window, digital colour photograph, 2014
[The Estate of Richard Welsby]
GORDON PARSONS is fascinated by a musical — and questioning — survey of Shakespeare’s attitude to women
MATTHEW HAWKINS enjoys the work of reading the essays of a rigorous and leading London/Caribbean cultural participant
ALEX HALL appreciates the history of a famous shoot-out that is sourced from diaries, letters, and newspapers of the time
MARIA DUARTE recommends an extraordinary film that explores an absent father’s attempt to make up to his sons
JOHN GREEN, MARIA DUARTE and LEO BOIX review The Shepherd and the Bear, Hamlet, Twinless, and 100 Nights of Hero
The Spaces Between: Richard Welsby
Pier Arts Centre, Stromness, Orkney
AT the centre of Richard Welsby’s work lies a unique account of art in the service of a humanitarian mission in the aftermath of war.
The words are simple, honest and direct. They describe the days and the people encountered during an independent film project in Bosnia in 1997, that accompanied a returning refugee and her need to find both her missing husband, and to grieve, and to begin life again. It was a brief but significant intervention that crossed the paths of several witnesses, and led to a forbidden place: a dank cellar beneath a camp that had formerly been a school.
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