#contemporise

[ecee2nfha6]

Busty Sex Goddess Eva Notty Gets Her Big Boobs Fucked And Creamed Free gay emo and jock sex stories first time Tag Teamed In The Back Peeing African beautiful ass Daddy shoves cock in gay students mouth throat fucking him me garcha de espalda sole puta de flores big ass yo con las piernas en alto Curvy ass teen outstanding amateur scenes of harsh sex Suzisoumise mature fuck meat hung for sex Toyed milf licks grandma A black gay wanted to suck my big cock Drunk sleeping and molested

[o5xkiuwuf]

Cute teen opens up yummy quim and gets deflorated Twink with glasses cums hard while getting bareback fucked African Girl Gets Huge Cum Facial! Lady boy masturbations Oily PAWG bounces on big fat dick In blue high heels shoe play and next feet job with red dildo Sexo oral / hotel tlalpan / Alizee S anzeth Groped Granny Ass Large tit white chick is having interracial sex with black guy Dreamgirl (OPP video)

[rbreckenridgecenquiry]

Experimenting from Research

i began with attempting Yamamoto's practice. The results did differ from the artists works as they did not appear to be as free flowing. As it was a rough attempt, I did use a watered-down black acrylic but i looked towards trailing this further as means of having other methods of contemporised printmaking involved.

i didn't want to seem as if i am directly copying Yamamoto, i am morely interested in using tools as way of drawing to make chance and automatic outcomes. So i switched the palette to white ink going on a black surface.

Again the start seemed to lack that ghostly look seen in examples from Yamamoto, so i thought to spray water on top of the "drawing" on the glass surface.

this was clearly the answer as sraightaway i had achieved the spectrey look that resonates in his work. less pigment, more water.

As my practice lately uses tissue paper, i wanted to trial this with the technique, there is the added bonus of the colours appearing differently as the material isn't completely opaque, this gives room to welcome more laws of chance, as seen below, some colours of the tissue bled into the white paint, to which develops foward new surface patterns to take to screen-print.

this contemporised monoprint technique has developed into something that can be continuous, screen-print, monoprint, screen, mono, and so on until there is feeling of resolve.

[m15014samringwood]

when I first herd the brief was parades a image appeared in my mind very clearly. this image comes from the book 'Jonathan Strange & Mr Norrell (2004)' of a fairy leading a parade "through through dusty ill lit halls" but for context ill give a brief synopsis of the book; Jonathan Strange & Mr Norrell is a book about two magicians trying to revive the long lost art of English magic during the Edwardian period. through trying to achieve this Mr Norrell summons a fairy to bring back a dead girl. this fairy is never named but is referred to as the Gentleman with Thistle down Hair, however he makes a deal with the magician that half this lady's life will be his. so when this lady: known as lady pole, goes to sleep she is transported to the gentlemen's land known as lost hope. this is where she is forced by enchantment to perform dances and processions. she is prevented from telling anyone by a muffling spell that can only be seen by magicians as a rose where her mouth should be. with this knowledge I give you the full description of these parades. from chapter 9 "on other occasions, lady pole and steven took part in long processions. in which banners were carried through long dusty ill lit halls. the gentleman with thistle down hair having fondness for such ceremonies. some of the banners where ancient and decaying paces of dense embroidery. others represented the gentleman's great victories over his enemies, and where infect made from the preserved skins of those enemies. their lips, eyes, hair and ears having been embroidered onto their yellow skins by his female relations" the gentleman is described to "never tired of Theas pleasures". this darker more traditional representations of fairies is a big inspiration to me.

the image above is the gentleman with thistle down hair and Mr Norrell from the BBC TV series adaptation of the book (2015), below is an image from the show of the gentleman's land of lost hope.

stories of the fay (catch all term for fairies) having large balls and processions is a well established trait of their kind, that has been passed own through oral traditions in Celtic and European history. however it is hard to ascertain a start point to this, as these storied could well have been first told 1000s of years ago but for a relatively more modern example look at 'the elf mound (1845)' by Hans Christian Andersen. so I believe this is very solid grounds to build my parade off of.

other contemporise films have been inspired by the notion of fay as ever partying. for example the ballroom scene from 'Labyrinth (1986)' in which the protagonist is enchanted by eating a peach and is transported to a ballroom full of fairy tail esc people including the goblin king played by David Bowie.

I'm also interested in all the elaborate costumes and fairies connection to nature. to demonstrate what i mean and consolidate ideas I'm next going to make a mood board of my visual inspirations.

[afactaday]

#aFactADay2021

#99: there is one ATM in the vatican city, and its labelled in latin. (although they might have contemporised it and put a translation underneath lol)

[delhinewsinenglish]

Reliance brings back Campa Cola of the 70s

Billionaire Mukesh Ambani’s Reliance re-launched the 50-year-old iconic beverage brand Campa Cola in a new contemporised avatar as it looks to ramp up its own consumer goods offering to take on competition from Adani, ITC and Unilever.

In January this year, Reliance Consumer Products Ltd, the fast-moving consumer goods arm of Reliance Retail, acquired a 50 per cent stake in Gujarat-based carbonated soft drinks and juice maker Sosyo Hajoori Beverages Pvt Ltd. It had previously acquired the Campa brand from Pure Drinks group for a reported `22 crore.

Source : https://www.dailypioneer.com/2023/trending-news/reliance-brings-back-campa-cola-of-the-70s.html

[don-lichterman]

Progressive law reforms to head Parliamentary Sittings

Progressive law reforms to head Parliamentary Sittings

NT Government A suite of progressive law reforms heads the final … Territory Labor Government is delivering progressive reforms that will contemporise our … Source link

[indiaartndesign]

Of Contemporising Cultures

An articulate medley of multi-faceted design, this Beijing abode by Tanzo Space Design juggles boundaries to balance inside and out, tradition and modernity, urban and rural, and a potpourri of materials with minimal charm. https://bit.ly/TSD-IAnD

[deoffal-mp-adm7000-n-s1-2022]

Business Card: Final Mock before printing

Fig 1. Front View.

Fig 2. Back View.

Fig 3. Hand preview of the front.

Fig 4. Hand preview of the back. 

----------------------------------------------------------------------------------------

Just to make a quick note of the final design, it didn’t take much to come to this conclusion, only because I knew that I wanted the front to act as a small poster to the overall installation, and I wanted the back to be the most simple and formal thing you could ever see on a business by someone like myself. The design of this business card overall came to represent my project as a whole, with the idea of the framed portrait on the front being inspired again by the diagram of the preuniverse by Robert Fludd and his image of And so on to Infinity ( And so on to infinity-(Robert Fludd 1617)-Source: Eugene Thacker, Public Domain Review(2015)).

My business card is seeking to contemporise this image by working in that lovecraftian horror aspect of something abhuman looming in the darkness beyond our comprehension (The piece chosen was ‘Fleck’ from the 63, it is the 62nd image in the collection)

This piece is about the insignificance of man in the face of the abhuman and the unknown universe, typically written by Lovecraft to represent flecks of light in absolute darkness and noumena, so it’s fitting for my themes and especially fitting for the installation as the portal into the unknown within contemporary art. The only details left in the front are used here to commemorate the show itself, the title noumena being my project, the date being based on the fact that this is a 2022 show and collection, given I date everything by the year and not by the day or month also, keeps things more direct yet mysterious that way, almost as if I’m hiding the event of the actual exhibition and yet saying it definitely was made and happened in relative history as a 2022 event etc. With the last detail being my alias, all text is in a Baskerville font, one of my favourites due to it’s somewhat gothic and slick design. The back was easy enough, here are featured my IG, email, and website, in this order only out of priority as my IG is my main focus really, the website had to be converted into a QR code with a cheeky title of ‘Deoffal’s domain’ only because the URL link was too long for the card and looked hideous just wedged at the bottom of the overall cleanness of the back of the card, it wouldn’t have looked right at all. However, this also adds some accessibility and ease of access to my site, as everyone can use a QR scanner nowadays and this process stops people from having to archaically type out the entire URL. Plus, if they looks after the card enough then the QR code will work so long as the card isn’t tampered with or torn, it’s like a physical key into the digital world of my website, all from one scannable entrance etc. The other icons on this back when added out of the likeness they have to typical email and IG logos that you see everyone, saves me having to explain what the words mean when the brain fills in the gaps between the icons and their attached usernames and codes etc. I also made the back landscape to have it represent the simplest format again, the front has to be a portrait because I am a portraitist and so it wouldn’t make sense to crop my work to only show the eyes or some other focused section of the image when I do these highly detailed and worked over images, it wouldn’t allow the art to speak for itself, which is such an important part of my outcomes as I’ve mentioned before. I also removed the titling and captioning from the piece just to clean the image up for the card, almost to make the front look like the cover of a book or manga, as evidenced here:

Source: https://imgur.com/t/junji_ito/KZu03P5

These intro pages are synonymous with summarising the story in one page, without giving away all the story beats and twists, they read as blurbs and prefaces without much needed to give the audience an idea as to the tone of the story, while bordering said stories to treat this page as very a cover and icon of the story, but not as part of the whole story itself. 

The only changes that need to be made now are about making sure my designs don’t go over their bleeding edge, and that their physical version hold up when finally sent to me, I should be getting over 200 cards so the hope is that none of them are printed out of sorts, but they need to be printed now to stop myself from overlooking them, and especially if there are any problems in the future with weird printing problems or issues of postage and card quality etc. 

[irispublishersfashion]

Iris Publishers_Journal of Textile Science & Fashion Technology (JTSFT)

Design Intervention & Craft Revival with Reference to Pichwai Paintings: A Contemporise Approach

Authored by Dr. Shruti Tiwari

Abstract

The purpose of this study is to ensure if design intervention helps in the revival of dying craft with interesting ideas with new intervention models and create new range of products.

Design/Methodology/Approach: This study is based on a review of the literature and takes a case study approach. The study aims to suggest interventions as bridge between designers and craft persons to enhance and expand the craft vocabulary and reviving dying craft tradition and opening new avenues in the global market.

Keywords: Traditions; Paintings; Craft revival; Design interventions

Objective

• To revitalize this rare traditional art of Pichwai.

• To give new dimensions to this traditional art yet maintaining its value.

• To enhance the livelihood and to create employment opportunities for artisans.

• To create market segment for artisans at global level.

Introduction

Indian handicrafts are unique expressions of a particular culture or community through local craftsmanship and materials. With increasing globalization, however, products are becoming more and more contemporized and artisans find their products competing with goods from all over the world.

This kind of demand regarding a product and change its style, design and color creates a great threat for the producer artisans and push these conventional handmade products out, replacing them with mass factory made, machine crafts [1].

Though the Indian traditional crafts based on skills, has been transformed from generation to generation and many of them are still making their livelihood dependent on the indigenous modes of production, traditional skills and techniques to manufacture products.

Handicraft is the second largest source of employment in the country, after agriculture. Yet India’s hand industries are in a crisis of misunderstanding. Crafts Council of India- 2011.

According to United Nations, over the past 30 years, the number of Indian artisans has decreased by 30% indicating the need to reinvest in artisans to safeguard history culture and an important source of livelihood. -William Bissel, MD, Fabindia [2].

Among the oldest devotional paintings of India, the temple hangings of the Vallabhacharya Sampradaya, Krishna sect are one of the beautiful and mesmerizing ones . This painting style originated 400 years ago. The intricate and visually stunning devotional pictures on cloth or paper which portrays the tales from lord Krishna’s life. These hangings act as a backdrop and adorn the walls of garbgriha of lord Krishna’s temple.

These paintings are mainly done by the artist of the town Nathdwara , near Udaipur city . It is known as the center of Pichwai paintings. The artists here earn their livelihood through these paintings. The Pichwai artists belong to the communities of the jangidas and the Adi gauras [3].

Review of Literature

This research is inspired by the fact that crafting objects by hand is one of the defining traits of being human, then our present state of culture in which craft has disappeared in the “overdeveloped” world and it should cause us to pause and think about what is about to disappear.

Craft today is defined by preciousness, and an extraordinary value is attributed to the handmade craft as an exotic species. Caught between a rock and a hard place, people in the west fetishize the object, while in our world we romanticize the humble craftsman and his poor condition.

But neither of these approaches really looks past the artefact (as either a fetish or a commodity) to the role of craft as a catalyst for spurring thought and innovation in the society.

We may lament the loss of the beautiful objects we now see in museums, but what if the ultimate value of craft lies not in the artefact but rather in the process by which it comes to be? [4].

A study by Soteriou A [5] says that it is a process which seems to be getting lost as the artisans are trained in the art form by their ancestors over generations and craft was not about making a simple product. Rather it was about a historic legacy of generations and centuries, a tedious brutal labor and a proud skill, a battle between tradition and industrial modernity an expression of unique style and a vision of revival all connected to the heart and spirit of each individual artisan.

Research by Kasturi PB [6] reveals that – Has Indian design, in fifty years of the country’s independence, empowered the crafts community to become “freshly evolved and seek solutions themselves.” On how to resolve this problem of designing for new markets? Have designers asked the right questions of the crafts community to lead to such empowerment?

Perhaps it is now time to do so. “With adequate social opportunities, individuals can effectively shape their own destiny and help each other. They need not be seen as primarily as passive recipients of the benefits of development programs.”

While design intervention in craft is welcomed by some as a necessity and an opportunity for exploring new prospects and help in craft revival, it is often considered as a threat by others [7].

In short, collaborative innovation between designer and craftsperson is a good means of expanding the craft vocabulary and tapping contemporary markets.

Defining Craft

Crafts can be defined as “those activities that deal with the conversion of specific materials into products, using primarily hand skills with simple tools and employing the local traditional wisdom of craft processes. Such activities usually form the core economic activity of a community of people called “craftsmen”.

One definition state that crafts developed out of necessity to fulfil everyday needs of people. The products and objects made were for personal use and were instrumental in expressing their individuality and their way of life.

In the Indian context crafts have been both for personal use and an expressional fulfilment and economic activity. It evolved out of being a product of use, then was ornamented and given an aesthetic appeal to it.

A craftsperson is one who is skilled in a technique and though he may produce a number of similar objects, each one however expresses the maker’s creativity [8].

It can also be defined as a personal journey of the craftsperson where the main objective is self-expression. The personalization, imperfections imparted because of hard work and use of indigenous tools and skills are the factors that differentiate “craft” from a community. (Design Intervention and its execution in crafts in India, Amita Pandey) [9].

For More Open Access Journals in Iris Publishers Please Click on: https://irispublishers.com/ For More Information:https://irispublishers.com/jtsft/fulltext/design-intervention-craft-revival-with-reference-to-pichwai-paintings-a-contemporise-approach.ID.000628.php

[goharshahi]

New Video: Naya Islam: Imam Mehdi Aur Tajdeed e Islam | Sufi Master Younus AlGohar | ALRA TV

https://www.youtube.com/watch?v=wJe92WsXGyM

Sufi Master Younus AlGohar explains how the Awaited Mehdi will rejuvenate and contemporise the religion of Islam.

-----------

➡️This video is a clip from Sufi Online with Younus AlGohar, a daily show on ALRA TV streamed LIVE on YouTube at 10 PM GMT - join us here: https://www.youtube.com/alratv/live

❓Have a question for Sufi Master Younus AlGohar? Text your questions to us on WhatsApp: +44 7472 540642 or Facebook messenger:  http://m.me/alratv

Watch the live recordings of these lectures every day at 22:00 GMT at: http://www.younusalgohar.com

🎥 Find this video on Daily Motion and Soundcloud http://www.dailymotion.com/mehdifound... https://soundcloud.com/younusalgohar/

---

New monthly publications!

The True Mehdi Magazine: http://www.thetruemehdi.com/

Messiah Herald Magazine: http://messiahherald.com/

--- Read more about Sufi Master Younus AlGohar's work against terrorism: www.younusalgohar.org.

📱Social Media Instagram: http://instagram.com/alratv https://www.instagram.com/younus_algohar

Twitter: https://twitter.com/AlRa_TV https://twitter.com/mehdifoundation https://twitter.com/MessiahFdn https://twitter.com/younusalgohar

Facebook: https://www.facebook.com/alratv/ https://www.facebook.com/HHYounusAlGo...

Websites: http://www.goharshahi.us/ http://www.theawaitedone.com/ http://thereligionofgod.com http://www.younusalgohar.org/

*NEW URDU LANGUAGE WEBSITE* http://www.mehdifoundation.com/

[rbreckenridgecenquiry]

More Research/Experimenting

Due to the two fast approaching deadlines for my divergent and creative research project are past, it was well overdue to take the breaks off of creative enquiry to now think of where the end result will be for degree show.

after looking at the test space to get a scope of what can and can not be done, i found myself to be looking at installation with contemporised printmaking to get back in the swing.

Wylie, E. (2008) Roaring Garden [Installation] Available: Fick, B. and Grabowski, B. (2016). Printmaking. A complete guide to materials & process, pp 196

Eva Wylie’s sculpture proved to be a food for thought when it comes to what form my final may take. The fragmented areas make interesting marks and do play a reminder of my automatic lines but if they weren’t on a solid surface. i do understand that this sculpture is suspended from the ceiling which can not be guaranteed for myself. but it is a good idea to stem from.

However i was pleasantly perplexed by Yamamoto’s method of using the roller as a drawing implement and had wanted to attempt it myself.

Yamamoto, K. (2007) (Left to Right) Ridatzu, Fusen, Fujyou and Chiri Nagae [Monotypes] Available: Fick, B. and Grabowski, B. (2016). Printmaking. A complete guide to materials & process, pp 196

The results did differ from the artists works as they did not appear to be as free flowing. As it was a rough attempt, I did use a watered-down black acrylic but would look towards trailing this further with different inks and paints as means of having other methods of contemporised printmaking involved.

Another artist i had admired for a few years prior to this course was Alan Bur Johnson.

i liked how his fragmented transparent peices acted as a jigsaw, assembling the finished work when collected together.

despite his images coming from insects wings, there is a resonance with my work as there is the small play of abstractions with the drawn line.

its only making me think that there could be a mix of media coming into the final play?

[military1st]

Hazard 4 Poncho Villa

Hazard 4 Poncho Villa is an entirely contemporised version of the classic military poncho, generously sized to fit over bags, backpacks, and equipment.

It is made of water-resistant and breathable softshell fabric. It comes with a large adjustable hood, fully taped waterproof seams, Loop panels on the front, back, shoulders and back of the head, side snaps for closing edges in severe weather, and a back vent for drying.

Hazard 4 Poncho Villa can become a small make-shift tent or a large one if two ponchos are combined.

It packs into its front pocket for storage.

Find out more at Military 1st online store.

The UK customers: https://mil1.st/H4PVCUK

The rest of the world: https://mil1.st/H4PVCUS

Enjoy free UK delivery and returns! Swift delivery to Ireland, the US, Australia, and across Europe.

[fuckyeahgoodomens]

Claire Anderson (Costume Designer)

Did you relish the experience of working on Good Omens?

Definitely. It covers so many different eras and so many historic places. There is such a wide area to draw on. It’s been a fantastic drama to work on. It’s been a joyous journey of exploration.

What has been like working with Neil and Douglas?

It’s been great. Neil and Douglas are so collaborative. If I was ever anxious about a look, I asked Neil and Douglas and we’d have a forum. Every time we came up with a solution; one of us would say: “Oh, I know, let’s do it this way”. It was exciting every step of the way.

Was there one sequence in particular that you enjoyed working on?

It’s always terrific collaborating with the production designer to make it all work, and we had great fun doing heaven. It was a big glass, open space occupied by an army of angels. They needed to look angelic, but also military. So I found a soft plaid that worked very well and gave them an air of serenity.

Did you work very closely with Michael and David?

Yes. They were both involved in creating their looks. When you put something very distinctive on them, that helps them find the character. They are more interested in getting the look exactly right, rather than being vain. We had mood boards - light for good, dark for evil. Michael’s costume is ethereal. He wanted something timeless that wouldn’t look out of place now or in Victorian England. He found a way of contemporising his Victorian look. We were able to use aspects of his costume all the way through.

We gave him a tartan bowtie, but all tartans are owned, so we had to design our own specifically, incorporating golden thread and heavenly aspects. He also wears a Victorian waistcoat that is almost bald. We dyed things a lot to get the pale blue on his shirt that would give him serenity and warmth. He wears soft suede shoes and soft light cashmere trousers. It’s about balancing colours with his very white hair to give him the right look. He needs an ethereal aura, and all of the colour palette needs to emphasise his heavenly glow. He’s deliciously cherubic.

How did you go about creating David’s look?

It really started with his 1940s look. The tailoring is very crisp and aligned. It’s hard and sharp. Under the colour of every suit, we put red felt which was like the belly of a snake. Underneath that loucheness, David is slightly rock-starry and Keith Richards-esque. His black leather gloves have a tiny red line to emphasise his snake-like characteristics. We also found a 1980s jacket that had a quilted quality. We worked on it until it had a textured feel to it, like snakeskin. It’s all about semiotics.

Do you have a favourite outfit on Good Omens?

I love Madame Tracy’s. We were allowed to be really off the wall. I would think: “I’ve gone too far now,” but I never had. I loved teaming her orange Welsh tartan cape with sumptuous pink leather gloves. Her look is exotic and intriguing.

What do you hope that viewers will take from your costumes?

I hope the costumes feed people’s imaginations and give the story another layer. At their best, costumes always help tell the story, and I hope that’s what we’ve done here.

Very enjoyed this part :)):

We gave him a tartan bowtie, but all tartans are owned, so we had to design our own specifically, incorporating golden thread and heavenly aspects. He also wears a Victorian waistcoat that is almost bald. We dyed things a lot to get the pale blue on his shirt that would give him serenity and warmth. He wears soft suede shoes and soft light cashmere trousers. It’s about balancing colours with his very white hair to give him the right look. He needs an ethereal aura, and all of the colour palette needs to emphasise his heavenly glow. He’s deliciously cherubic.

[hopscotchfriday]

Richard Stanley’s Color Out of Space

There was a clear intake of breath from film nerds at the announcement of Stanley’s Lovecraft adaptation. Here was the promise of a serious adaptation of the Providence native’s fiction that would not simply focus on gloopy ooze and cosmic horror (while at the same time serving it up), but be willing to add a critical dimension to Lovecraft’s work.

The rising popularity of the author’s fiction, resting on a bedrock of American bigotry distinct even for the period, is troubling as news of rising racial tensions around the world continues to assault us on our devices, our televisions – the gossip of workplaces. H.P. Lovecraft has found his cultural moment and I almost wish he hadn’t.

Richard Stanley, meanwhile, has spent the last two decades in the wilderness. A South African émigré to the United Kingdom who somehow managed to court controversy even as his interests were strictly marginal – reminiscences featured in the documentary Future Shock!: The Story of 2000AD indicates comic creators still remember his lifting of Steve McManus and Kevin O'Neill's story Shok! (featured in prog 612).

Indeed, Stanley endured a reputation for many years as a promising young director, whose career was marred by this accusation of plagiarism and a disastrous failure in the Australian rain forest.

Fired from the set of The Island of Doctor Moreau, Stanley missed his shot at a Hollywood career. Refusing to simply fade away, the rejected director haunted the Northern Queensland locations in disguise as one of Moreau’s creations. He was even rumoured to have made some black magic workings to curse the production. The film-maker has continued to pursue his interest in the occult with indie documentaries.

Lost Soul: The Doomed Journey of Richard Stanley's Island of Dr. Moreau released in 2014 was the perfect forum for a reappraisal of the troubled director. David Gregory presents Stanley as a bleakly whimsical naïf, crashing on the rocky shores of Hollywood business. Interviews with bemused cast members and crew paint a picture of a visionary incapable of communicating his ideas to the money-men, trusting instead to puckish confrontation.

It did not pan out, with John Frankenheimer being air-dropped in to complete a mediocre adaptation of the H.G. Wells tale.

Gregory also introduces concept art for Stanley’s excessive vision, presenting the experiments of Moreau escaping into the modern world, with hallucinatory chaos ensuing. His fascination with Wells’s themes of man playing god, and colonial contempt for indigenous people, inspired a spectacle of karmic revenge on the streets of London.

Color Out of Space (oh yes, that is what this is supposed to be about) features a similar inversion of the original work’s thematic concerns. The original story features working-class New England farmers, the Gardner family, doomed by a mysterious alien meteorite that contaminants their well and corrupts them physically and mentally. Lovecraft’s thematic nihilism is touched with a degree of class derision for the Gardners, their fate recounted to the reader by an educated visitor from Boston who pieces together the events of the story.

Stanley makes a number of changes that retain the cosmic nihilism and essential beats of The Colour Out of Space (why drop the ‘u’, does it signify his contemporising of the test?), while challenging the privileging of Lovecraft’s classist hauteur. Now the Gardner’s are urbanites-turned hipster land owners, clearly out of their depth in raising alpacas in the New England countryside. Nicolas Cage’s head of the household Nathan mentions cooking the meat of the animals in the following year, which daughter Lavinia (Madeleine Arthur) has to point out is exactly what you don’t do. Alpacas are raised for their wool; it is a waste to eat them.

Here the Gardner’s privilege marks them as alienated from the land. Their lack of experience with farming is underlined by how the household’s finances derive from mother Theresa (Joely Richardson), who works as an online stocks advisor and is frustrated by the poor internet.

As for the Gardner children, Lavinia has embraced magic ritual to affect an escape from the drudgery of her parents’ escape to the countryside. She is also introduced attempting a healing spell on behalf of her mother’s cancer. But of all the Gardners, Lavinia is the character most approximate to the otherworldly force that invades their farm. Son Benny (Brendan Meyer) is stoned, too online, and disaffected, while the youngest child Jack (Julian Hilliard) is overly attached to Theresa.

The stage is set then for Stanley theme of the self-proclaimed wholesome American family being torn apart when encountering something outside their regulated life. Theresa’s cancer is the spectre that haunts the passive aggressive sniping between the children and Nathan’s failures as a father. The cancer is an early corollary for the metastasising corruption of the ‘color’, which arrives via meteor and quickly mutates and assimilates animal and plant life, before enveloping the Gardners themselves.

There is a studied weirdness in the script to the interactions between the Gardners, hinting at the family’s already festering tensions and resentments. A scene of romantic banter between Nathan and Theresa descends into an exchange that emphasises his possessive hold over her as a literal sex object; Lavinia and Benny exchange insults exclusively focused on their respective genitals. In Stanley’s inversion of Lovecraft, it is the family unit that is already a corrupting trap.

The alien intelligence that plagues the Gardners manifests what is already working on the clan and their presumed normality.

Stanley’s other coup is to remove the passive epistolary tone of the story. Instead he introduces hydrologist Ward (Elliot Knight), who at first tries to rescue the family from what he regards as a water-born illness. For his efforts he is then targeted by the alien intelligence at work.

There’s plenty for gorehounds to enjoy here, from twisting masses of flesh, limbs being lopped off and the always reliable – murderous trees – but Stanley has also produced an evenly paced, visually exhilarating meditation on alienation and invasion.  

Color Out of Space is now available On Demand via Telstra, Google Play, iTunes, Fetch TV, Foxtel & Umbrella Entertainment plus DVD & Blu-Ray. 

[thetheatrereviewer]

[Review:] THE DIRTY THIRTY: INTERNATIONAL WOMXN’S DAY, Rosemary Branch Theatre, London.

[Review:] THE DIRTY THIRTY: INTERNATIONAL WOMXN’S DAY, Rosemary Branch Theatre, London. “A clever, politically-charged performance with a most unique premise, envisaging great social change.” 4 ★

Degenerate Fox perform The Dirty Thirty, a compilation of thirty micro-plays, weekly at the Rosemary Branch Theatre. No two performances are ever the same, as this compilation is edited every single time, with five plays deemed the weakest, or those that have been running for too long, being removed and replaced every week, meaning that this theatre company dedicatedly refine and contemporise…