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A NIGHT ON THE TOWN Painting

William Higginson

Canada

Painting, Acrylic on Canvas

Size: 91 W x 48 H x 2 D in

Ships in a Crate

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Originally listed for $15,150
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About The Artwork

Having made the sagacious decision to avoid this squalid little offering in favour of a night in, reupholstering the wingback (sadly not a euphemism), imagine my despair when my editor called to inform me the producer was an old friend of hers. Apparently she had promised him a review, and that she’d get her best man on the job. That I am her only man - in the theatre reviewer sense, at least - diminished the already diminutive honour of being handed this poisoned chalice of an assignment. I received the news with as good grace as one can muster, put down the fabric scissors, girded myself against raised hopes, and went forth into the night. So what can one say about A Night on the Town? Other than that it is a witless, interminable farrago masquerading as “socio-political cultural commentary with a dash of satire that will leave audiences wanting more!” as the programme would have it. More of what, I am quite uncertain, as the most profound cultural commentary of the night was the gentleman beside me sneezing into his handkerchief. The plot, as far as one can determine its existence, concerns itself with the lives of six friends (three men and three women) who must wrestle with the vicissitudes of life in West Vancouver...which, if this depiction is anything to go by, is as vicissitudinous as an evening in a well-lit parlour in comfortable bedsocks. The main cast is augmented by the controversial inclusion of Bald Eagle, still wrestling with his own vicissitudes (or vodka and Quaaludes, if his bizarre antics brandishing an umbrella throughout proceedings are any indication). To the eternal bafflement of this reviewer, Cattle Skull continues to get work; here he plays one half of an ill-advised gay pairing with Peacock. Stilted doesn’t begin to cover it - to say he was wooden would be to asperse wood’s animus. His lines fall from his mouth, only to flop about weakly on the stage, looking for a place to die. As agreeably decorative prop, Rose succeeds admirably, but her undeniable shapeliness isn’t enough to distract one from the inescapable conclusion she is a thespianic cipher. Poppy is forgettable, Sunflower regrettable, Lotus execrable. A trio of fully-fledged nobodies - Elk Skull, Swan and Bird of Paradise - round out the (mis)cast. The play isn’t helped by the writer’s flaccid approach to his craft, the director’s unsteady hands, the relentlessly awful soundtrack, and the lighting, which had all the ambience of a flickering fluorescent in a loading dock. I would say that it rendered the production well-nigh unwatchable, but it was beaten to it by the “acting”. As far as a night out goes, A Night on the Town is a great incentive to spend a night in. Reupholstering the wingback, as it were.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:91 W x 48 H x 2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

William was born in 1978. Several years later, he told his folks he wanted to be an artist. Being of a supportive nature, they gave him some pencils and paper. In doing so they also gave him a career. William was one of those people with the good fortune to discover early on where the deposit of talent lay within himself. He found joy in doing something he was naturally good at, and, as with any such endeavour, good return on invested time led to greater investment. In 1990, William was diagnosed with life-threatening liver failure. A diagnosis of leukaemia soon followed. He was eleven. For the next three years he lived with the knowledge that it could all end at any moment. Living with such conditions cannot help but alter one’s perspective on life. Moreover, that change in outlook never truly departs, and has informed so much of William’s work as an adult. Lying in the hospital bed, William remembers asking his folks for pencils and paper. It was at this point that Ruth and John knew their son was recovering. For many, art is a way of life, or a welcome escape from it. For William, art became a way back to life. High school would expose William to many new techniques – he was fortunate to have teachers who recognised his ability and then encouraged him to extend himself in new directions. It is a tenet he continues to hold to, never content to confine himself to one discipline. Following school, William decided to join the army. He served for three years then left, returning to the Gold Coast which had always been his home. His pencils and paper would sit, mostly unused, for four years. But talent, that strange and indomitable beast, would not stop seeking a way out. In 2003, William abandoned any pretence towards living a 9 to 5 life. He set about in earnest what that deposit of talent – that rich vein that can never be tapped out – demanded of him; to be refined, enriched, and utilised. He rented out a studio apartment and filled it with the tools of his craft. There he would live for the next five years, surrounded by his creations, his adventures into imagination – and it was here that he underwent the metamorphosis that took him from amateur artist to professional. By 2009 William knew that it was time to venture into the wider world, starting with Canada, a decision that would herald a new phase in his life and would have a profound effect on his work. Not only that, he found his feet attached solidly into the live painting scene.

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