Archive for April, 2012

Open Studio. May 2012

Saturday, April 21st, 2012

Open Studio. May 2012

Studio 17, Unit 0, Second Floor Studios

Thursday 17th May 5.00 – 9.00pm

Saturday 19th and Sunday 20th May 11.00 – 6.00pm

Painting, Drawing, Etching, Sculpture 

All work for sale, new commissions taken 

 Solitary Women

Oil on canvas. 2012. 96 x 76cm. Cath James of Yorke Dance Project rehearsing City Limitless 

My studio: number 17,  Unit 0. The building next to the river. New terrace cafe will be open for tea and coffee, homemade food and a BBQ

Location: Second Floor Studios & Arts, Mellish Industrial Estate, Harrington Way (off Warspite Road), Woolwich, London SE18 5NR

Transport. Train: Charlton and Woolwich Dockyard Stations. DLR Woolwich Arsenal. Bus: 180, 177, 161, and 472

Contact: sallymckay@btinternet.com http://www.sallymckay.co.uk   07803609977

 Furthermore a date for your diary, Solo Exhibition 

13th September – 23rd September 2012

Part of ‘On Sublimity and Synaesthesia‘ I shall be exhibiting in conjunction with freelance writer Dr Stephen Baycroft.

At: No Format Gallery, Second Floor Studios, Mellish Industrial Estate, Warspite Road, London SE18 5NR

2012 Olivier Awards

Friday, April 20th, 2012

17th April 2012. News

Desh by Akram Khan won Best New Dance Production. I would love the opportunity to draw Akram Khan Company while they are rehearsing. In 2010 I watched Confluence, a collaboration between Akram Khan and musician Nitin Sawhney and also Gnosis, both were fabulous.

Metamorphosis, Arthur Pita’s wonderful interpretation of Franz Kafkas’s dark novella of a traveling salesman who wakes one morning to find himself transformed into a giant insect, was nominated but didn’t win. I drew this dance during the rehearsals, truly it is tragic and beautiful.

Outstanding Achievement in Dance was won by Edward Watson, for his performance in The Metamorphosis. (see above).

Polyphonia, Sweet Violets, Carbon Life

Saturday, April 14th, 2012

Tuesday 10th April 2012

The Royal Ballet are performing a triple bill at The Royal Opera House until April 23rd. Polyphonia choreographed by Christopher WheeldonLiam Scarlett’s Sweet Violets and Carbon Life choreographed by Wayne McGregor.

Polyphonia (2001) to music by Gyorgy Ligetti opens the evening. I loved the clean abstract lines created in the dance. I drew in pencil in small sketch books, in the dark.

Polyphonia. copyright Sally McKay PolyphoniaPolyphonia Polyphonia, choreographer Christopher Wheeldon

In a total contrast the ballet that follows, Sweet Violets, is a narrative ballet exploring the British Impressionist painter Walter Sickert’s macarbe fascination with and possible link to Jack the Ripper, set to Rachmaninoff’s music of piano, violin and cello, played live and beautiful. Sweet Violets is confusing to say the least but interesting to draw.

Sweet Violets Sweet Violets

Sweet Violets 

Sickert founded the Camden Town Group of artists, his paintings were painted in a dark palette, sometimes quite seedy and often haunting. He used prostitutes as models which upset the public, apparently he wanted the nudes he painted to look ‘ordinary’ not in idealised poses. Some beautiful drawings by the Camden Town Group are on show at Tate Britain until May 7th.

Finally, Carbon Life by Wayne McGregor is a huge treat. Wonderful lighting by Lucy Carter, a band playing live at the back of the stage are joined by singers, Boy George, Alison Mosshart, Hero Fisher, Jonathon Pierce and rapper Black Cobain. Fashion designer Gareth Pugh has designed mad and gorgeous monochrome costumes, some of which restrict the dancing, as in Bauhaus. The dancing is fabulous, everything feels extreme, hyperextended arched backs, very high legs, almost impossible twists and turns, I smile from start to finish and love drawing this ballet – it’s so dark I can’t see the paper, I have no idea what I’ve drawn until I’m in the train home and take a look in my sketch book.

Carbon Life Carbon Life

above left: Rapper, Black Cobain joins the dancers

Carbon Life below: fabulous costumes by Gareth Pugh

Carbon Life Carbon Life

I’d like to take some of these drawings further, though I’m not sure which direction, certainly to sugar lift or soft-ground etchings, possibly a painting in oil on canvas. My ideal would be to make a full size wire sculpture showing the extraordinary moves and crazy gorgeous costumes in Carbon Life, unlikely as for the sculpture I only work to commission.