TATSUKO: supporters


Because of its running time of just over 44 minutes, Tatsuko was ineligible for state funding. It was deemed too long for Arts Council of Wales funding, while falling short of the length considered by the Film Agency for Wales. Post-production required funds to finance the time Wyn Lewis Jones spent in the sound studio on composing the soundtrack. I decided to attract financial assistance through the Crowd-funding model.

A big thank you to the following patrons who pledged support for TATSUKO.
please visit their websites.

Yvette Brown                www.smallbrownbird.co.uk/
Gillian McIver-Tanbouli    www.artsite.org.uk/
Carole King                    www.carolekingart.co.uk/
Mike Hall                       http://michaelhall.vpweb.co.uk  
Clare FergusonWalker     http://www.cfwdesigns.co.uk/ 
White Lion St. Gallery     http://www.artmatters.org.uk/
Liz and Peter Bellamy     Pen Pwmp Gallery; Upper St. Mary st. Newport SA42 0TB
Mike and Marion Dawe    http://www.secludedbedandbreakfast.co.uk
John and Jana Ellis         http://www.johnelliseone.co.uk/
Rozanne Hawksley         http://www.rozannehawksley.com/
Barbara Price                 http://www.barbaraprice.co.uk
Zara Kuchi                     http://www.zarakuchi.co.uk/
Paul Steffan Jones         http://p47sj.wordpress.com/
Les McCallum                 http://www.spencermac.com
Gaynor McMorrin            http://www.mcmorrin.co.uk



TATSUKO: forthcoming screenings in Pembrokeshire

 Thursday 24th January 2013 @ 7.00pm

ORIEL Q,  QUEENS HALL GALLERY,  High Street, Narberth  SA67 7AS



    Friday 1st February 2013 @ 7.30 pm
               THEATR GWAUN,     West Street, Fishguard   SA65 9AD
                          Box Office: 01348 873421     Online: its4u.org.uk




TATSUKO: screening at Studio 75, London review by Gillian McIver-Tanbouli



Tatsuko is an extraordinary project, and encompasses all of the prodigious skills and talents that a master of their craft can accomplish. Glenn Ibbitson’s 40-min film is a hauntingly beautiful, dramatically gripping yet enigmatic film that draws the viewer into a world dominated by a strange landscape, where the familiar becomes alien and human relationships are intense yet completely distant.


The story is simple: a hooded man arrives at a remote farmhouse. The artist who inhabits the house, goes about her daily self absorbed routine, oblivious to the dark figure watching her. Slowly he begins to inhabit her territory, watching, waiting. Scuttling away when she is near, yet closer to her than her own breath. Is he real, or a shadow? Is he malign, or a guardian angel?


The film’s cinematography is breathtaking, making the most of both the wild Welsh landscape, and the way that ordinary interiors can be imbued with suspense. In their majestic stillness, the shots breathe the artistry of Antonioni, while the enigmatic yet intense story echoes Tarkovsky.


The entire film was made by Ibbitson, with a magnificent soundtrack by Wyn Lewis Jones. The script, scenography, camera, lighting, editing is all done by Ibbitson, and it is a shock to realise that since before the credit you imagine this is film that took a significant budget and a crew. But no. Having previously made a number of short films, Ibbitson’s status as a master painter can be seen and felt in every frame. Tatsuko, as well as being hugely entertaining, is an object lesson in how that most traditional of art forms, painting, can be a discipline and a catalyst to electrify and deliver art cinema of the highest quality.


Tatsuko the film is accompanied by a substantial published book that can be purchased showing all of the drawings that are integral to the film. The drawings themselves, in a concertina book form, are also available for exhibition

Gillian McIver-Tanbouli              Director, Studio 75 London


Gillian McIver, Canadian artist and writer born in Newcastle upon Tyne, UK and raised in Vancouver is a writer, curator and film-maker.[1]

After studying history and philosophy, she moved to London where, in 1997, she set up an international underground art collective, known as Luna Nera in the abandoned Colosseum theatre in East London. Since that time, she has participated in various projects with Luna Nera, exhibiting in a wide variety of venues in different countries throughout Europe including the UK, Canada, Russia, Finland, Germany, Switzerland, Ireland and Italy. She continues to co-ordinate Luna Nera which makes temporary site-specific projects in unusual yet significant sites. Her own work consists primarily of video and photographic images which explore history, memory and place. She made “Places” a collection of short films – made about strange sites in Berlin, Moscow, St Petersburg, Paris and Belfast – exploring the lost fragments that trace the past, and reveal the transitory nature of human existence.


Tatsuko reflected: project excerpt

Tatsuko reflected: project excerpt

Three shorts screened.
This film takes as its theme the central conundrum of artistic motivation. The choices which have to be faced when aspiration comes into conflict with fundamental practicalities. . I am constantly revisiting the activity of creativity, while simultaneously accepting that this same activity is essentially an exercise in futility.
I am an only son with no children. I have no family to whom I am able to bequeath my artistic output. No-one is likely to assume responsibility for its archival maintenance. After my passing, the contents of my studio are likely to be cleared at the earliest opportunity and disposed of in the form of a bonfire. In the larger scheme of things, this is of no material consequence; this fate awaits the personal records of thousands of people across the planet every day. Knowing this does not curtail my activity; I work on in a deluded state of hope over expectation.
In the late 1950’s, a similar choice was faced. Kathleen Ibbitson put her creative potential on hold in order to dedicate her energies to her new family. She and husband Jack provided their only child with a home full of song. He is heard here as ‘noises off’ during his mother’s unaccompanied rendition of a popular classic. The track was recorded on a reel to reel tape recorder.
The lyric was given added poignancy when Kathy’s marriage of nearly 50 years ended with the death of her husband in 2004
Footage was shot over a twenty minute period and edited without modification to either colour balance or contrast levels. Any visual interest is the result of an undirected and fortuitous combination of flame and wind.

TATSUKO Project:
This is not a trailer for the TATSUKO film in the accepted sense of the term. None of this footage is to be found in the 40 minute feature. Rather, it illustrates two particular threads, surveillance and voyeurism which form that movie’s core. This adaptation uses as its ‘projection screen’ one of the major contributions of film to the visual arts -the extreme close-up. Excerpts taken directly from the movie are seen at one remove, as reflections in the lenses of the viewer watching footage on her laptop.

Soundtrack by Wyn Lewis Jones
Filmed in Snowdonia, Pembrokeshire and Carmarthenshire; Wales 2012

A spectacular piece of furniture design by award-winning designer Steve Thompson.
At once sculptural and functional; all elegant curves and planes enclosed within pure radii, it also fulfils its functional brief as a comfortable chair. Not only that; it is a rocking chair for the 21st Century [it rocks…]. Even better, it provides mobility [it rolls!]

Filmed at Whitland Abbey Carmarthenshire: Wales 2010