Matthew Marshall, Professor of Music and Head of EIT Ideaschool has recently focused on publishing, performing and recording the works of New Zealand classical guitar composers to international audiences.Driven by a need to create a sense of identity for guitar music from New Zealand, Matthew’s research involves collaboration with New Zealand classical guitar composers who he has commissioned specifically to write for him. He then performs and records their music in New Zealand and overseas.
In his opinion, the identity of the local composer is still evolving, and while there is nothing in the music to identify it as being from New Zealand, local composers often capture an element of the New Zealand landscape in their music. The real joy for Matthew is playing the compositions to worldwide audiences and it has taken him from New York to Russia and Iceland to Easter Island. A highlight was collaborating and playing with some of the world’s best at the New York Guitar Festival in 2018.
For Wellesley Binding, senior lecturer in Visual Arts at EIT Hawke’s Bay’s IDEAschool, a philosophical approach to art is an important part of the creative process. Wellesley adopts a different approach in the way he investigates the ontology of the studio setting. German philosopher Martin Heidegger called the artwork “the thing plus” and what interests Wellesley is the “plus”.
“It is not looking at things like the meaning of art or any of those larger issues, but the actuality of the engagement with materials and the studio itself as a phenomenological machine,” says Wellesley.
He hopes to encourage the audience to think of art practice in a different way.
Nigel Roberts (MFA) is the programme co-ordinator for EIT’s Bachelor of Creative Practice. His current research focus is on premonition, and how the approach of myth and faith to the phenomenon differs from the approach of logic and reason. The key for Nigel is finding a way to take ideas and concepts and express them visually using sound and vision. He role-plays most of the different scenarios himself, but occasionally will use other people.
His starting point is having a story to guide him and for him this is his interpretation. It is then a case of taking that interpretation and capturing it on film.
“If you take déjà vu, it is trying to evoke the idea of a situation where that could happen. So, something that happens, possibly from multiple angles and times and trying to evoke that connection to something that is believed in by faith – or something believed in by reason,” says Nigel.
The research guides the narrative. Whatever he finds, creates the whole story.