Sean Rowley: One of the longest running obsessions of my life is my love affair with Brian Wilson and the music of the Beach Boys, so much so that I named one of my radio shows after one of their tracks. It seems like the perfect setting here in St Ives in Cornwall for an art exhibition dedicated to the music of Brian Wilson. So for the summer season only St Ives, Cornwall, becomes Southern California. Alex, as the Curator of this exhibition, describe to me the process by which it started to come together in your head. Was it through a listening experience? Alex Farquharson: Well it was both a listening and a reading experience. It was getting into the music quite late on, very, very heavily, so I was listening to almost nothing else for a period of time and also getting fascinated with who Brian Wilson was and what his relationship to this music was which is very contradictory. So I read his autobiography and you know it introduced this character that couldn’t be more different than the one I expected from the Beach Boys’ music and I loved that discrepancy. I think another thing was hearing artists talk about Brian Wilson and the Beach Boys and how he was an unexpected source of inspiration for them. Sean Rowley: Carburettor One is the first piece that you will see as you enter into Room number one going under the banner of ‘Surf City’ and this is very much a room which is dedicated to the foundations of the culture which inspired Brian to write the music he wrote. So what you have in this room is pieces dedicated to girls, cars, surf and the sun and of course Carburettor One really has as an experience of viewing it, has a very similar experience that you would have from listening to those early records by Brian and the Beach Boys. The detail is obviously an engine part in what looks like the glow of the sun. LA Artists in Their Cars is the piece that comes across this wall in the ‘Surf City’ part of the exhibition as put together in 1969 by Joe Goode. This is to me the Californian dream, sort of everyone looks very chilled and relaxed digging back in their very stylish yet quirky cars. As we enter into Room number two in the exhibition we are in the warmth of the sun. Very much a room dedicated to the explosive creativity of the period from 1965 through to 1967 so obviously taking on board the genius of the work such as Pet Sounds and the aborted Smile Sessions. Here is a detail from the aborted album Smile that was originally commissioned to be put together by Frank Holmes and it’s probably the first time that the Beach Boys, Brian and the boys, embraced any sort of contemporary art work for their album sleeves, as I say just a detail. Over here we have a selection of work from Sister Corita which… this is really, really interesting because what you are going to pick up on here is, lets just take this one for example, this is my particular favourite, this is Come Alive by Sister Corita, using the ‘Come Alive’ slogan I think from either Pepsi or Coca-Cola but combining it with - Sister Corita was actually a nun for those who don’t know - combining it with the religious message of, just along the side here, ‘the glory of Christ is man fully alive’ with ‘Don’t You Need Somebody to Love by Jefferson Airplane’. Slight delusions started to creep in with Brian actually citing that he was feeling that he was composing pocket symphonies to God and actually visualising a halo above his head as he was working in the studio on works such as Pet Sounds and Smile. And so to the Interlude which is the name that is given to this particular room here, it’s definitely one of my favourite pieces within the whole exhibition is this illustration of a reel to reel tape recorder put together by Thomas Demand. The whole thing is made out of paper and it’s a replica of the tape machines that would have been operated out of the Gold Star studios where of course Brian and the Beach Boys recorded the likes of Pet Sounds. I look at it and it will immediately draw me into an intimate moment that you can these days hear through various box sets that have been released of Brian’s work especially on Pet Sounds which includes hours and hours of studio instructions and there is an amazing demand that Brian makes of one of the engineers: he wonders if they could get a horse in the studio to get the sounds of a horse which has to be one of the strangest requests every put down on tape. Like so many kids who fall in love with music, one of the first routes into understanding and hearing and being exposed to the music that would influence him for the rest of his life, was through transistor radios and I am loving these representations here. Brian would sneak his transistor radio into his bedroom late at night and curl up under the bed sheets tuning in to the local rock and roll stations and hearing records by Chuck Berry and Little Richard and really, really that was the beginning of the dream as represented by these two here.