City of Shadows

The cumulative effect of City of Shadows is atmospheric, mystifying and fascinatingly haunting. It is something of a shared guilty pleasure to clinically contemplate projected forensic photographic records of disarmingly frank images of faces of the ‘wicked’ caught in that Grand Old Dame and ‘City of Sin’ – Sydney. 

The photographs are generally from the 1920s, an era with its evocative sense of romance still to this day intrinsically deeply embedded in the character and feel of Sydney.

Short and crisp and very effecting, the rich music fills the space between the viewer and projected photos of criminals and crime scenes with live voice (Rachael Dease) and strings (Brian Kruger, Hayley-Jane Ayres, Aaron Wyatt and Tristen Parr), underpinned by recorded keyboard backing.  It allows time and space for contemplation and a chance to interrogate one’s own response to the all too human subjects and, at the same time, has a hypnotic engulfing effect. 

The songs and compositions are not literal responses to the photographs as subject matter but complex soulful crafted responses from musicians, most particularly composer Rachael Dease.  And in turn the evening feels like it could be used as a springboard for further creative responses to their moving offering. 

The work gives the viewer a chance to wonder what sets us apart from these villains of the past, other than years of time.  What it is that causes some to offend? What is evident is a very obvious link with poverty.  The faces are disarming in their frank expressions.  The basic black and white of the photography of the time is translucent in that is seems to let the viewer into the heart and souls of the subject matter.

Fifty minutes well spent for twenty-five dollars.

Suzanne Sandow

Performers:  Rachael Dease, Brian Kruger, Hayley-Jane Ayres, Aaron Wyatt and Tristen Parr.

Image: Rachael Dease. Photographer: Tey Vandenberg.