Andy Tauer perfumes

There’s a lot of perfume reviews out there. I don’t want to do a review because my love for smells, perfumes – natural and synthesised – and its art form is beyond any knowledge I can possibly fathom. Especially regarding raw materials that make up a perfume in a bottle for the consumer. I don’t know the chemistry of Chanel No. 5, but I have enough knowledge about aldehydes. When I first sprayed Yves Saint Laurent’s Kouros in my mouth in the 1980s, I knew then that alcohol carries perfume beautifully, but mistaking it for a mouth spray, so prevalent in that decade, stunned the back of my throat. It left a memorable effect. The mention of ambergris in Mandy Aftelier’s Palimpsest and Andy Tauer’s L’air du désert Marocain creates elemental stories and poetic imagery as opposed to a recognition of its scent. I’ve never smelled it raw, but I can imagine. That’s where I am coming from here. What I am doing is not reviewing perfumes but writing poems and prose that the perfume conjures in my imagination. I smell the perfume on my drawing and writing table, I take my time, and a story from the perfume comes forth. Words come, then I align the words to a sentence, and I edit.

I start with six works produced from Andy Tauer’s Discovery Set. As stated on tauerperfumes.comL’air du Désert Marocain include notes of coriander, cumin, petitgrain, rock rose, jasmine, cedar woods, vetiver and ambergris.

Here is the first work, a poem, inspired by L’air du Désert Marocain –

Wherever I am

           the edge of a cliff

            the middle of a field

            standing on the precipice

            between near and far

an expanse of memories

appears

From the pages of a book

dust in the air float

From a great distance

it has arrived

IMG_7927.JPG

Photo by Mart Basa, postcard from Andy Tauer, and postcard detail of Kulyu, 2014 by artists Ngamaru Bidu, Jakayu Biljabu, Bowja Patricia Butt, Kumpaya Girgirba, Noelene Girgirba, Karnu Nancy Taylor, Muuki Taylor, Ngalangka Nola Taylor, Wokka Taylor.

 

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