Find out what we’ve been up to, where we’ve been and what we’re thinking.
One of the most insightful things said at the The Rolex Mentor and Protégé Arts Weekend was by Harvard professor Homi Bhabha, who said, “A great work of art is impossible to forget because it is difficult to remember…..a work of art should be an unfathomable experience, you know it, but you never know it”. I thought yes! – it’s not often that someone says something that seems to encapsulate what it’s all about, describing why (more…)
Our eagerly awaited documentary on folk legend Nic Jones is revealed to the world tonight!
Nic Jones was the rising star of the folk world in the early ’80s. His 1980 record Penguin Eggs remains among the top 100 albums of all time and he was playing sell-out gigs up and down the country.
Driving home late after one such performance, he collided with a brick lorry. He was lucky to survive. The resulting injuries destroyed his career and left him unable to play guitar in the intricate, percussive style he had pioneered. Last summer, after almost three decades, he returned to the stage with his son, Joe.
We follow Nic in his return to performing and speak to his family, friends and fans about his journey and his legacy.
Packed with guest appearances from fellow musicians, this moving tribute to Britain’s lost folk hero is a treat for your ears and your eyes. Catch it tonight at 10pm on BBC4.
“Gorgeous, moving tribute” – The Guardian
“Affectionate and perceptive” – The Daily Telegraph
“Director Michael Proudfoot’s biggest tribute to Jones is understatement, largely remaining faithful to his [Jones’] cheery nonchalance about the cruelty of fate and the dark humour of his son, Joe…” – Colin Irwin, MOJO Magazine
“It’s a lovely, lovely film.” Mark Radcliffe reviews the documentary on BBC Radio 2, with a beautiful track from one of the comeback gigs:
Soheila Sokhanvari works in something of a sanctuary, which is apposite considering that her work is inspired in part by illuminated manuscripts. Nestled in green, villagey space outside Cambridge, her neo-monastic studio is a whitewashed, tin-roofed room owned by the Wysing Arts Centre; one of a row of connected spaces whose slanted ceilings and split-pane doors suggest they might have once been stables. This, too, is appropriate as she has previously created sculptures around taxidermy horses.
Sepia-toned images hang in a neat row on the simple white walls, showing groups of laughing holidaymakers and fashionable young things posing on car bonnets. These could be reproductions of 1960s Hollywood promo shots, but in fact they are pictures copied from the artist’s family photo album, lovingly inked in shades of Iranian crude oil. This is the first hint that things may not be quite as they first appear. (more…)