#Graham Ellard

[rbolick]

Books On Books Collection - Inscription 4

Inscription: The Journal of Material Text, Issue 4 on Touch Simon Morris, Gill Partington and Adam Smyth (eds.) Cased perfect bound paperback, printed paper cover. 313 x 313 mm. 120 pages. ISSN: 2634-7210. Acquired from Information as Material, 29 November 2023. Photos: Books On Books Collection. Different readers will come to different conclusions on whether Inscription #4 dedicated to the…

[pablolf]

I learned from Graham Linehan just how useful it is to be able to tell the story fast, with no details. I call it the ‘anecdote test’. If it’s still funny and interesting when you tell it without dialogue, you’re getting there. It forces you to avoid too much ‘and then…’ plotting – everything comes from something or leads to something.

Andrew Ellard

[mswyrr]

  “The Doctor helps a blind girl scared of a fake monster, finds a scary labyrinth in her mirror, leading to a fake afterlife where she has to break up with an alternate universe to save ours” is a MONSTROUSLY good pitch.

... It’s a shame to rely on “The Doctor breaks up with the Solitract” (fab idea) as an ending when they’ve only just started talking. A shame not to connect them sooner. And a shame not to see Graham being haunted by Grace sooner, so as to drive this catharsis. Might have been useful to have the Doctor in a flirtatious relationship with a voice in her head? A romance before the break up?

Old School Who fan out there shipping it like: what? OFC the Doctor could fall in love with a sentient universe. lol

[footyplusau]

Patrick Cripps not content to rest on laurels

At the age of 20, Patrick Cripps became the face of the Carlton Football Club. 

It wasn’t meant to happen that way, but it did. While the recent turmoil at Carlton has taken a huge toll on the club, in many ways it’s been the making of Cripps as a footballer and a leader, particularly the 2015 season. 

Thrown into the spotlight, Patrick Cripps is always looking at how he can improve on and off the field. Photo: Josh Robenstone

In round eight, then coach Mick Malthouse was sacked after a string of terrible results, with a 77-point loss to Geelong the final straw. 

Two weeks later, club icon and modern-day great Chris Judd was carried off the MCG with a season-ending knee injury; the last time he would be seen in a navy  jumper. 

Barely a month after that, Bryce Gibbs went down with a pectoral injury and suddenly Cripps was spearheading the Blues’ midfield alongside Marc Murphy. 

And  – as if things couldn’t get any worse – Murphy injures a shoulder in the round 21 win over Melbourne and is ruled out of the final two weeks of the season. 

Carlton’s last game of 2015, a 10-goal belting at the hands of Hawthorn, saw Cripps as Carlton’s No.1  midfielder, playing in an engine room with Andrew Carrazzo, Ed Curnow, Nick Graham and David Ellard. Weeks later, he was confirmed as Carlton’s youngest best-and-fairest winner since John Nicholls. 

All of a sudden, Cripps was the light at the end of the tunnel for Carlton. It’s barely been 18 months since that day, but Cripps has had to mature quickly. 

“I think about it a lot,” Cripps said. “Because we’ve had such a big list transformation … I look around and I feel like I’m above the median age of the group,” he smiled. 

“You look around and blokes are actually starting to look up to you which takes a while to sink in. They watch what you do, what kind of training habits you have and they follow. I find it a bit weird but it’s something I’ve learnt to embrace.” 

Footballers are  renowned for recognising and working on potential deficiencies in their game. Whether that be kicking for goal, working on their one-grab marking or becoming proficient on both feet, players are always fine-tuning their skills. For Cripps, there wasn’t a whole lot to work on. At 22, his contested ball numbers rival the likes of Geelong champions Joel Selwood and Patrick Dangerfield and Fremantle captain Nat Fyfe at a similar age. 

He’s a superstar in the making. But Cripps took it upon himself after winning the B&F  to seek help on an aspect of his football that he could no longer ignore – media. 

“Definitely in the early days in the media I was nervous, probably because I wasn’t used to it and I did a fair bit of work to improve it.” 

Cripps sought counsel from the club psychologist, the media team and even an outside source on not only how to deal with the ever-expanding media landscape, but communication in general. “We just got me in pressure situations, in mock interviews … the more you do it the better you get at it.” 

It’s well known at Carlton that  Murphy’s successor as the next Blues captain will be a toss of the coin between Cripps and Sam Docherty. Judd, who was Blues captain for five seasons, elected to hand over the position to Murphy at the end of 2012, before playing out his final three seasons. 

Murphy, who like Judd has played through injury for a long time now, is also heading into his fifth season as skipper and the time may soon come where the baton  is passed on. Cripps, like he does so well on the field, was smart enough to read the play. He recognised that if he wanted to captain this football club one day, he had to act now. “I looked at it and said, if I want to be a leader around the club, then leaders do a lot of media so you sort of have to be good at it. I used to nearly resent doing media, because I got nervous, but now actually embrace it and don’t mind it at all.” 

While Cripps has done extensive work with the Carlton media team, he’s also done a lot of work with  Carlton psychologist Anthony Klarica, who Brendon Bolton brought across with him from Hawthorn.  

Cripps has become part of a special group of midfielders across four clubs who are set to take the competition by storm over the next decade, and admits he’s been keeping an  eye on  fellow 2013 draftees. 

Josh Kelly, taken at pick 2, Marcus Bontempelli (4) and Zach Merrett (26) have become midfield sensations at their  clubs, with Cripps taken in between “The Bont” and Merrett with pick 13. 

Kelly has emerged as a clearance machine, Merrett’s foot skills are sublime and  Bontempelli’s poise is on another level. 

What stands out about Cripps is his transformation off the field. 

He’s gone from an apprehensive  teenager from country Western Australia who hated the sight of a camera or a microphone, to a measured and focused leader in the space of four years. And he doesn’t shy away from that. 

“I reckon good leaders look after their own backyard first. When you’re a leader, the No. 1 thing is you have to play good footy. 

“Then once you feel like you’ve got your own backyard covered you can start helping other guys. I’ve still got a lot of stuff I want to improve on, it’s only my fourth season. But at the same time, the quicker I can drag blokes with me, the quicker we’ll improve as a team.”

Cripps is desperate to taste team success. He’s never – not even as a junior in WA – won a premiership and he knows there is something special brewing at Princes Park.

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[curating-conversations-blog]

Day 5 - Acme Studios visit  : Graham Ellard & Stephen Johnstone.

Graham Ellard and Stephen Johnstone have collaborated since 1993, when they made ‘Passagen’, commissioned by Film and Video Umbrella and included in the group exhibition ‘V-topia’ at Tramway, Glasgow. Interested in the relationships between pre-cinematic spectacle and digital technology, cinematic spectacle and abstract film their work exists at the intersections of architecture and cinema and is preoccupied with the conventions and effects by which space is represented and ‘produced' in the projected image.Their work, includes large scale video installations, architectural light-works, and drawing.

16mm film, UK,  2011 6 minutes    B&W, 1:1.33, Silent

Ellard and Johnstone shared with us some 16mm film footage from Things to Come produced as part of a gallery exhibition at Site Gallery in Sheffield. Working over a period four weeks Ellard and Johnstone built a large, highly abstract, metal and glass model in the gallery space. The film consists of abstract synchronised movement across and around this model to create a dynamic play of light, shadow, reflection, parallax, depth, surface and prismatic special-effects. The film is formed predominantly from extreme close-ups and abstract details. These are intercut with extracts from ‘set-piece’ takes, which occured in the gallery.

Screening : Thursday 15 October 2015 - London Film Festival

For an Open Campus, UK/Japan,  2015 16mm. colour, sound, 29 mins

Shot over four weeks in November 2014 on the campus of Aichi University of the Arts, Nagoya, Japan. The film explores the remarkable architecture of this 'campus world' through the camera and through a collaborative project with students. Official Selection BFI London Film Festival 2015 - Experimenta Strand - World premiere.

New Publication -  Anthony McCall: Notebooks and Conversations

Book; hardback, 192 pages, 160 colour illustrations. March 2015. Published by Lund Humphries, in association with Kunstmuseum St Gallen, Switzerland.

Formed from a series of discussions that took place over the last decade between McCall and artists Graham Ellard and Stephen Johnstone, the book charts the development of Anthony McCall's studio practice. With an introductory essay 'Thinking in Notebook Form' the book includes numerous facsimile reproductions of pages from McCall's extensive archive of notebooks.

Buy it here.

Presented by Curating Conversations 2015 in partnership with Autograph ABP.  #CuratingConversations            

[thewitofthestaircase-blog]

Photoshooting & pops ©estherellard www.estherellard.com

[atsitegallery]

Open Call for UK visual artists - Platform Residencies 2013-14

Visual artists can apply for the acclaimed Platform residency programme at Site Gallery.

Artists are invited to propose an idea for which they need time, space and investment to develop to proof of concept stage.

Apply by 19 July 2013

[atsitegallery]

Open Call for UK visual artists - Platform Residencies 2013-14

Visual artists can apply for the acclaimed Platform residency programme at Site Gallery.

Artists are invited to propose an idea for which they need time, space and investment to develop to proof of concept stage.

Apply by 19 July 2013