Quire 2011 Photographs

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Wojtek Bozyk

Wojtek Bozyk has been involved in independent filmmaking since 1990. A longtime New York resident he learned all levels of filmmaking as a production assistant, gaffer, assistant director, assistant cameraman, and director of photography.  He worked on various projects ranging from student thesis, shorts and features to music videos and documentaries. His directorial debut “Rockin’ Brooklyn” was shown on several film festivals in Canada, Portugal, Brazil, and Poland.

Lately he started his next project documenting Sunderland/North East music scene.  

Tom Hoad

I play guitar in the Sunderland based heavy rock band Ashes Of Iron. Our sound is organic, expressive, heavy, energised and melodic. (with a hint of blueberries!) Metal Hammer magazine described us as “Pissed Off Retro Rock”, which is fine by us. We have built up a body of work that collectively we are proud of and will hopefully find it's place in the hydra head of the rock/metal universe. Our debut album is available very soon, and we look forward to seeing what opportunities and adventures present themselves in the future.

For me personally the art work for our album was my biggest creative challenge to date. I was to produce the best work I had ever done for the worst possible clients, myself and my band mates. I wanted to avoid tested iconography and cliches, a lot of rock/metal bands can end up visually becoming a parody of their perceived persona. It is also a visual minefield in the sense that the wrong choice of imagery or design style can give the wrong clues to the music represented.

Rhea Sherriff-Hammond

Rhea Sherriff-Hammond is a song writer and singer who plays keyboards/synthesizers, and is drum machine programmer with new wave electro-pop-rock duo; BEAUX.

Rhea trained in fine art at Hull University, and has featured in solo and group exhibitions in the north of the country. She has recently been selected for ‘Young Artists of the Year Award’ at The Biscuit Factory, Newcastle. She takes influence from the arts as a whole; music, lyrics, literary themes. Also from the concepts of artists such as Rene Magritte, Barbara Kruger, the painterly skill and attention to detail of Dali and The Pre-Raphaelites, the compositional qualities of Ronald. B. Kitaj, and most evidently from Robert Rauschenburg and Sigmar Polke's brave, defiant, lack of expositional restraint in the use of mixed media.

Peter McAdam

I guess it all started for me when Punk came out, where anyone who knew three chords could get up and sing songs. I found this to be extremely liberating. In the mid 80’s I joined the Washington Music Collective which was a breeding ground for would be rockstars and disaffected experimentalists, myself being the latter, I formed Dadakopf which was in the spirit of the 1920’s Art movement Dadaism which was close to Punk in the philosophy of performance as a provocative event.

Dadakopf went on to win Surge 89 battle of the bands organised by the legendary Riverside venue held in Sunderland. One radio journalist described us as “miserable, gothic and not even German”.

Peter Hince

I started in the music industry at 18, working for the David Bowie organisation. I was Mick Ronson’s guitar roadie and also worked for Lou Reed and Mott The Hoople during that period. It was when working for Mott, I first met Queen, who were the support act on Mott’s UK tour and it was their first big break.

Around 18 months later I began working full time for Queen as they began recording the Night at The Opera album. I was principally Freddie and John’s roadie, then after a couple of years became head of the crew and worked with them full time until the end of their final tour in 1986, when I left the music business to start my career as a professional advertising photographer.

Peter Brewis

For a number of years I have been interested in the idea of using field recordings in composition. The idea of taking a certain place and time from itself and rehabilitating it into a new place and time, seems to me to get to the very essence of what makes studio based composition a unique process. The creation of a new reality.

"...studio recordings, record nothing. Pieced together from bits of actual events, they construct an ideal event."
Eisenberg, E. (2005) The Recording Angel. Yale University Press. p89

With each of these pieces I wanted to create a musical microcosm of a certain place and time. To condense a reality and use it to compose a hyper-reality; the ideal event. To find the music that people make as they go about their business and to compliment that music with my own compositional ideas. Practically, this would mean listening to and recording an environment over a period of hours, finding the rhythms, melodies and textures that interested me and then editing these hours into minutes, composing a short musical narrative of the event.