other press Culture allery Review lusions of Grandeur Metlish Contributor prints in J/lusions of Grandeur are performers, beloved win- dressing in golden frames. Magazine scraps, vintage post- ds, and antique sheet music have been taken, cut, pasted, painted into the private language of the illusionist. Complementing the show are items from the Douglas llege theatre costume collection and the personal collection ma McCallum. Other props include old songbooks, dust, ers, lingerie and bloomers. mes Keary has been on the fringe of Douglas College since ore its inception, when the theatre department was at the rey Art Centre. Keary has worked as a costume designer, a former, a director, designer, and consultant. A graduate of Vancouver Film School, Keary tried the industry of llywood North but found he hated it. His heart is fully nched in the theatre. There, his scale and intensity is ired, whereas film is less lush and fantastic than live the- you are going to view any of these prints, take in the “Music Night” series inspired by the music of Stephen Sodheim. only plead with you to find them. “Liaisons” features dless Victorian figures, only strange because of the postures shades, the combination of textures striking a reverberating eal tone. Beneath, the second in the “Night Waltz,” the k has definitely struck twelve and the Wonderland dance r is revealed to be within its own picture frame. rom the same series, there is the memorial of “Remember” “The Glamorous Life” where the mundane is transported to the stage, while the seats in the audience wait empty. In rpetual Anticipation” a great stone face looks into a doll- e of a stage, as though a stony-faced audience. ‘Cio-Cio-San” is the demure star of the “Prima Donnas” es, with a veracity of red lips, shadow-scored skin, and igatory blue. This piece is all love, power, and possession t disturbs and beckons. The other operatic heroines wait for in the wings, superimposed over sheet music. Music is their ilm Review September 19 to October 29 The Amelia Douglas Gallery dress, or their backdrop, playing some role in the play. The other series are: the “Don’t Make A Scene” classic Hollywood films series, the Victorian era “A Stage in Our Past”, the Bel Canto inspired “Souvenirs d’Opera’ series, the playful “Bodice & Soul’, and “Plump & Circumstance”, and finally “Legends”. “Paint what you know. I have notebooks full of stuff that I'll never have time to do,” says the artist. “A friend told me to just go for it,” and now he is pursuing it full time. “In this medi- um,” he says, “I don’t have to prostitute myself like Neil Simon.” One of fhis Keary’s earliest memories of making theatrical- based art was as a child, using red poster paints to paint a pre- sidium arch—the picture frame used since Greek antiquity. After a span of years, in need of a wedding present, Keary cre- ated the first “illusion of grandeur”... This was so well-received . that the grand illusions have continued. Up next, Keary has an “Alice In Wonderland” exhibit in the works, and Mozart's “Magic Flute”—where viewers will walk through the pictures. There is a message here in the work. The average passerby, might not understand. But for the theatre student who is drawn to the flame of the stage, there is a story unfolding. Vivid and crisp collage illustrations, these theatrical masks of manic emotion take us to into passionate combinations. Pursuant of the value of dreams, theatre is revealed as the art of making grand illusions. Keary’s bio posted in the gallery is worthy of noting. We should all dream, and strive to attain our dreams—and that is what his work is about. There, on the Douglas College stage, are the dreamers, inviting us to dream with them. There waits the grandeur that we are all missing in the illusion of life. For gallery times call 604-527-5465. For purchase information call 604-526-2961 or email jihmi@istar.ca. October 23, 2002 Perpetual Anticipation Liaisons e Ring on Lewis Contributor ping my seat fearing what would come next. ok over to my left and notice that my friend isn't even reporter, as she unravels the enigmatic videotape king at the screen. I nudge her, motioning frantically filled with nightmarish images. The urban leg- her to look at the gruesome images, but she just end starts when four teenagers die exactly seven es her head in a flat-out refusal. Now, I admit that days after viewing the tape. Rachel, led by her ome scenes it was even hard for me to look, outoffear investigative curiosity, along with her friend hat I was going to see next. I'll admit that I was alit- Noah (Martin Henderson) are led on the path to perturbed by some of the contorted faces that still solve the arcane videotape. She gets caught up in r in the back of my mind like a creepy slide show. _ the inescapable web of the legend and now must , don’t get me wrong, this wasn’t one of those horror decipher its secret to save herself and her son s that go a mile a second, with barely a strand of a (David Dorman). The actors really draw the t to keep it together, purely relying on tons of gore viewer into the horror, with Watts displaying a blood frame after frame. No, this film didnot desen- range of emotional drama and Henderson play- e me from blood and violence, but instead left me ing more of a character that inwardly displays his emotions but still is just as brave as Watts. re Verbinski directed The Ring, a remake of Japan's The cinematography was extremely well done est box office hit and based on the novel by Koji with creative images filled with symbolism and uki. The screenplay, written by Ehren Kruger, was enticing special effects. The make-up was very emely well done in a way that the viewer is always well done, creating corps-like skin tones that are hard to ssing and cannot predict what is going to happen put out of one’s mind long after seeing the film. t. The film takes us through the mystery with Rachel Unfortunately, the only thing that gave away that it was ler (played by award winning Naomi Watts), a news an independent film put on by DreamWorks Pictures, it’s not real, it's only a movie. Submitted photo was that in some scenes, one could see the boom mike bobbing up and down at the top of the screen. It was, however, a nice relief from the lurid visions as the audi- ence bursts into mad laughter reminding them again that page 13 ©