PART TWO 2017

EOGHAN BRIDGE, FIONNA CARLISLE, SAM CARTMAN,KIRSTIE COHEN, ALAN MACDONALD.

Kilmorack Gallery, 27 May – 5 August.

Sweet Mystery (Ceramic) by Eoghan Bridge.

Kilmorack’s latest exhibition of solo statements by five individual artists works beautifully in the whole space, joyfully punctuated by sculptor Eoghan Bridge’s latest body of work. Introducing vivid primary colours into his Art, Bridge is knowing, playful and often poignant in its treatment of the human figure, balanced against the recurrent archetypal figure of the horse. This essential relationship feels like an extension of self in equine form, deriving strength and stability from the unconscious. It’s a circular dynamic where the powerful stability of the horse and the vulnerability of the human rider are symbolically entwined. Work such as Trojan (Ceramic) cleverly places one figure inside and in relation to another in an abstracted inner love triangle, playing with the Classical myth of the Trojan horse and whole idea of emotional and psychological defences.  Jungian psychology; animus (the feminine inner personality in men) and anima (the masculine inner personality in women) linked to creative process also comes to mind. This isn’t theoretically implicit in Bridge’s work, but there is an aspect of striving to balance emotion, instinct, vision, form, human and animal aspects of the psyche at the base of his work which always fascinates. Human figures are often dwarfed by the animal form supporting them in elevation, or inverted with the horse balanced precariously above. Seated human figures fold in on themselves, faces hidden in melancholic withdrawal or poised in acrobatic movement, reminiscent of the joy and wonder felt being taken to the circus as a child, tinged with a captive edge of sadness. When I Close My Eyes (Ceramic) is a beautiful example, with the seated human figure cast in a sorrowful, introspective posture, facing a horse poetically doing a handstand with upright stability, balancing a red ball with its hooves. Face to face the horse looks like a best friend, partner or inner companion being a metaphorical rock, attempting to make us laugh our way out of grief, loss or isolation.

There is great joy and humour in Bridge’s work but also compelling fragility. In Up and Away (Ceramic) the human figure is tethered to a bright cadmium red balloon horse held aloft by an uncoiled, spring like umbilical cord of thought and feeling. The inflatable horse is almost comic, invested with the tension of colour and form about to potentially burst into life. The balloon horse feels like hope as a life line extending from the human figure, resiliently poised with its hooves steadfast, holding up the infinite imaginative space above it which the figure is blind to in the moment. On one level it is quite whimsical, a surreal, improbable juxtaposition and yet it feels very much like the existential reality of being human.  Kiss my Rider (Ceramic) connects the geometrically square horse with a buttoned mane of Mondrian primary colour, to the bent human figure, both rendered in pure white. The horse is defying its weight and gravity, balancing upon its nose on the back of a female figure, bent not uncomfortably double. Her hair is styled into a dairy swirl cone point and her figure is childlike, suggesting a process of creative development, enabling her to support the form she’s still flexible enough to hold aloft. The horse miraculously rotates when guided by the hand, adding a dimension of animated delight into a work which instantly made me smile.

Party Time (Ceramic) by Eoghan Bridge.

In Sweet Mystery (Ceramic) an outstretched, youthful, masculine figure is balanced along the horse’s back, supporting a cobalt blue balloon in his mouth and a horse’s head with his feet. The horse supporting the rider beneath gracefully bows its head in a role reversal of quiet vulnerability. Narratives are triggered from each angle of interlocking, natural dependency and through awareness of positive/ negative space in three dimensions.   Party Time (Ceramic) is a technically ingenious work where Human figures are gathered, alienated and alone in jovial suspension, supported by the tabular, equine form of their collective unconscious. They are all connected but that isn’t their conscious experience above the surface, where eyes never meet and each figure is absorbed in their own gaze. The horse as an archetypal symbol of grounded power and unbridled freedom forms a richly meditative sculptural base for exploring the human condition. Bridge’s strength is that he understands positive and negative spaces physically, aesthetically and psychologically. What I love about this work is the supreme care in crafting the delicate patina of ceramic; seemingly transforming it into the green, oxidised sheen of bronze. This is contrasted with glorious, emotive accents of colour in pure, yellow, red and blue, unexpected bursts of joyous humour and the intriguing possibilities of multi-layered interpretation. Bridge’s work is enjoyable and thoughtful in equal measure.

Mountain Rock I (Mixed Media) by Kirstie Cohen.

Regular visitors to Kilmorack will be familiar with Kirstie Cohen’s Northern landscape paintings in oils, however this latest body of work incorporating mixed media, collage and drawn figurative elements  allows the artist greater latitude, bringing a spirit of bolder experimentation into play with her signature paint handling. Mountain Rock I (Mixed Media, 50 x 50cm) is akin to Chinese ink drawings and paintings, communicating the essence of Nature with monochrome strength and economy. Mountainous forms created from collaged black brush work on paper are given weight, substance and texture, with flourishes of opaque, fluid handling, delicately feathered edges of pigment and torn edges of rag paper contributing to the subtlety of textural marks. There’s a feeling of focused energy in the flow of water, ancient rock, depth of reflection blocked in black and the movement of torn horizontal strips of cloud above.  The image sits confidently between abstraction and recognisable natural forms and this spirit of experimentation has also informed the artist’s work in oils. Cloudscape Study (Oil on board, 30 x 40cm) is a fine example, with a hovering mass of softly striated rain bled into pure, vivid, turquoise and deepening hues of quiet turbulence. The mid ground is fixed with striated marks and finely scraped impasto, golden yellow accents drawing the eye into an atmospheric space between the water and sky.

The Gathering I (Mixed Media) by Kirstie Cohen.

In The Gathering I (Mixed media, 35 x 40cm) Cohen’s fusion of the drawn human figure with elements of nature and multi-layered abstraction present an ancestral vision in ochre, turquoise, green and indigo. The sketched figures emerge and recede into shadow and tree forms with densely spun branches anchor the triangular composition in an apex of light. This sense of experimentation in the studio brings strength and regenerative energy to Cohen’s characteristic approach to landscape and it is wonderful to see this evolution in her work.

Caley Salsa (Acrylic on paper) by Fionna Carlisle.

Fionna Carlisle’s strongest works in the show emerge from vibrations of colour, rhythm and music combined with the human figure. Drillfloor from Doghouse, Alwyn North (Acrylic on Paper, 79x 67cm) depicts a whirl of human industry in orange hardhats, flashes of pink and yellow protective clothing and heavy, black lines of rapidly sketched movement. This expressionistic handling becomes a painterly celebration of life, colour and movement in Caley Salsa (Acrylic on paper, 58 x 64cm). With a lucid palette reminiscent of Franz Marc, Carlisle’s loose brushwork fills every part of the picture plane creating its own carnival-like rhythm. Cool, deep blue and flashes of emerald wash vibrate against the heat of yellow, pink, orange and red as figures fragment, joyously losing themselves in the dance. When seen  alongside paintings which place the human figure, colour and movement centre stage ( both in terms of the artist’s paint handling and treatment of the subject) Carlisle’s still life works and smaller static studies of musicians feel less convincing and immersive, reading like decorative surfaces in comparison.

Tracklines, The Loch (Oil on board) by Sam Cartman.

Sam Cartman’s unique, abstract focus on rural landscapes, abandoned and semi industrial sites is fused with exploration of formal composition, paint handling and drawn marks to create strong, unified paintings, leading the eye into the work in surprising ways. Incorporating flat planes of industrial greens, greys, white, marine blue and yellow with restrained accents of red and orange, Carrtman’s palette is decidedly man-made in terms of pigment and control. Move closer and determinate contrasts of line, unexpected delicacy of drawn marks, fluid washes of underpainting and textured ground begin to emerge, contrasted with the bold, planar treatment of buildings, land and sky. Typically human figures are entirely absent in the artist’s work, communicating an eerie, forsaken quality in the landscape , however it is the drawn mark of a human hand, usually scratched into thicker swathes of paint which draw the viewer into the image. Tracklines, The Loch (Oil on board, 91.5 x 122cm) is a good example with the expanded width of track becoming the viewer’s foreground. Pencil marks lead us into the distance to a higher horizon line, defined with blue/ red built structures and fluid yellow hills. The shallow tonal range of mint green in the sky and land create an atmosphere of stillness as we set out following the tracery of human marks across an agricultural landscape. Whilst the Romantic myth of wild Scotland prevails, dominating landscape painting in the form of misty mountains, colourful seas and atmospheric moorland, Cartman’s vision is grounded in a landscape transformed by cultivation. The profound white silence of winter in Lambing Tracks (Oil on board, 61 x 74cm), spatially divided with planes of grey and icy blue are, on closer inspection, tempered with fine details of mark, tone and texture. The red, linear horizon line encompasses the abstracted form of a barn roof and clustered outbuildings in angular black and sky blue. In many ways it is a desolate space reinterpreted by the artist in formal compositional terms, creating a strange kind of beauty. The crux of this is how colour, line, form, texture and tone are balanced in the image as a whole. Ae Forest Study (Mixed Media, 15 x 21cm) punches far above its modest scale in that respect as a beautifully realised fusion of pictorial elements. Glimpses of yellow and pink emerge through the grey and aqua blue/ green progression of forms and pencil marks, leading us down the road into the journey of the image. The cool, assured palette beckons us into a space which is ultimately greater than the physical dimensions of the picture plane.

Pop III (Oil on board) by Alan Macdonald.

Informed by the canon of Art History, the techniques of old Masters and consumer Pop Culture, Alan Macdonald’s lively, sophisticated paintings always contain a gleeful element of play. With the exception of Hungry Hearts (Oil on Linen, 45’ x 36’) which includes an uncharacteristically clumsy cartoon character trope, Macdonald is on top form. Pop III (Oil on board, 12’ x 14’) is a work of playful genius, a wry and beautifully executed puzzle of a painting.  Macdonald frames the middle aged bearded male protagonist in a series of locked/ keyholed panels or hidden drawers, flanked by two delicate wooden columns, one painted decoratively in blue stripes aligned with a bluish bubble in the lower left of the painting. Positioned above the central portrait is the tantalising museum-like display of a wire skewer, just out of reach, daring the viewer to disrupt the scene by bursting bubbles. The protagonist’s historical costume has another instrument of deflation in the safety pin attached to his collar. It’s an emblem of shared mischief between artist and audience, like the sphere of pink bubble gum in his mouth and anticipation of the inevitable “pop” of sound and meaning. His cap is tethered to the left hand side of the frame, supported precariously with a small rope tied bag which resembles a balloon losing air. The word POP is planted beneath the masculine Father figure as a multi-layered punchline. This is Macdonald doing what he does best, grappling with the truth of being a man and an artist in the serious playground of the studio.

The Prophets of Doom (Oil on board, 10’ x 16’) delivers a visual judgement by definition in the text planted at the base of the figure with Black defined as an adjective; “the darkest colour, reflecting no light, obscure, dark, dismal, sullen, horrible,  dusky, foul, dirty, malignant, dark haired.” Above that negative pronouncement of written language a naked, cloaked prophet has come in from the wilderness, holding a bible-like tome with opened pages blankly illuminated by the torch he’s holding. His mouth is agape, hair dishevelled and face marked with dirt, nervously looking above to the stone frame or proscenium arch of the composition which is visibly crumbling. Likewise the ground beneath his feet is cracking and strewn with stones. The shadow under his foot places him on a ledge, with the viewer occupying his negative space, a theatrical pronouncement of fear and nothingness in the act of beholding (without Faith) the comedic play of life. It’s an image which is immediately humorous but also devotional in its search for meaning through Art. As clever as it is heartfelt, crafted with deliberation and instinct, it’s a painting that repays the participant viewer every time we return to the painted scene. The restrained palette is Spartan browns, sienna and umber with a deepening blue background onto which we can construct and project our own narratives, which is exactly the beauty of Macdonald’s Art.

The Tower of Dreams (Oil on board) by Alan Macdonald.

Whilst Hungry Hearts dominates this suite of paintings in size, The Tower of Dreams (Oil on board 30’x24’) with its central Female protagonist trumps it completely. This aspect of the psyche is tremendously strong in Macdonald’s Art and surfaces with the presence of women who command attention entirely on their own terms. Clothed in a blue, hooped dress with her hair piled high like a Goddess, head tilted and one eyebrow raised to question the viewer, she is resoundingly positioned centre stage. The song lyrics “close your eyes and drift away” are hung in an oval pendant around her neck, whilst above her, poised between “North” and “South” is the perfect symmetry of a banner; “This is the day that your life will change. This is the day when everything will fall into place.” Attended by figures in miniature she has the mysterious presence of an oracle. The plucked nib of leaves in her hand feels like they are about to be dropped in an act of divination onto the cracked stone stage, damaged by a cannonball lodged in its surface. The background treatment of deserted, villas, Roman colonnades and countryside, receding into blue water, sky and distant shores, creates a dreamlike dimension with Renaissance players enacting scenes of trial and torturous revelry around the central figure.  The background Feminine self stands on one hand, balanced above a canal. A bottle cap becomes a stage where a masked male figure on horseback impales another version of the heroine in a joust. This circular stage form is mirrored in an erupting vertical fountain of underground water, upon which the female figure stands behind a seated, male figure in a monk-like robe, tightening the rope that binds him. Just above the hem of the central figure’s skirt a door is opened like a drawbridge, revealing a fiery, purgatorial scene with skeletal Death and Bacchanalian fauns attending another splinter self or feminine doppelganger, loosely clothed and about to be cloaked in yellow. Right at the edge of the painting in the extreme foreground is an enigmatic man in historical costume observing beneath half closed eyelids a space just beyond the picture frame, with his white Venetian styled mask resting beside him. Every element of the composition triggers potential narratives in an endlessly engaging visual game of conceal and reveal. The complex arrangement of figures in tableaux is expectantly still, waiting for the viewer to interpret and project their own dreams, visions and fantasies into the painting.  The figurative tower is feminine, unconscious, multifaceted and more powerful for being so.

This is a diverse show, cleverly annexed so that bodies of individual work can be fully appreciated. Allow yourself time to take it all in.

All images courtesy of Kilmorack Gallery.

www.kilmorackgallery.co.uk

Scottish artists inspired by the sea

Joyce W Cairns "Farewell To Footdee" (Oil on panel 122cm x 183cm)

Joyce W Cairns “Farewell To Footdee” (Oil on panel 122cm x 183cm)

The Sea- Scottish artists inspired by the sea

17 September – 29 October, Kilmorack Gallery, by Beauly.

Kilmorack Gallery’s latest exhibition features work by some of Scotland’s finest artists inspired by the convergence of land, sea and memory. Forces of Nature and mind are powerfully brought together in an exciting show including work by; Joyce W Cairns , Steve Dilworth, Kate Downie, Lotte Glob, Marian Leven, Will Maclean, Allan MacDonald,  James Newton Adams, Mary Bourne, Ruth Brownlee, Helen Denerley, , Gail Harvey, Janette Kerr, Sian MacQueen, Lynn McGregor, Illona Morrice and Beth Robertson-Fiddes.

On entering the gallery Lotte Glob’s large ceramic tile seascapes; Seascape, Seascape – Tidal and Seascape Stormy Sea, unleash an incredible intensity of colour in a molten fusion of elemental forces and raw materials. Brilliant ultramarine and turquoise create a feeling of depth that the viewer cannot help but dive into. In Seascape-Stormy Sea, water, earth, air and fire meet, unite and divide; cracking and separating like a microcosm of the earth’s geological record. There’s a sense of mindful physicality in this artist’s work based on being in the landscape in the most expansive sense possible. This is combined with a lifetime’s understanding of Craft, unsurpassed in her chosen discipline. Along the coastline of the UNESCO Northern Highlands Geopark that the artist calls home, the ancient Lewisian Gneiss rock, 3,000 million years old, meets the full force of the Atlantic Ocean. Shore, land and mountain are a rich source of found materials, transformed by fire in Glob’s masterful ceramics.  The strength, beauty and delicacy in her work is visibly distilled in Flower of the Sea; a living being of fired clay; anemone-like fingers extended around blooms of glassy blue/ green rock pools, tempered with the hue of a subsiding tide of red kelp. In Rock Flower, an outcrop of white clay blooms emerge from what feels like a monumental cliff face, a fused piece of immovable white stone balanced on top of the sculpted clay in counterpoint with the pale, mortal transience of flowers. The handling of materials and form is supremely sensitive and a celebration of an artist at the top of her profession. Reef is another superb example, a rocky outcrop emerging from a disc of ocean which feels like the entire globe; minerals and pigments ebb and flow to the edges of the ceramic, into the deepest sea of mind, time and space imaginable. Another signature piece is Secret Pool; a sphere resembling a meteorite flung from space, which when opened reveals an interior teaming life forms, shoreline colour and vivid joy. Lotte Glob’s responses to her environment are pure and instinctual; her spirit is as adventurous as the experimentation in her Art and in walking the landscape she has come to understand Nature and human connectivity with the environment in ways that never fail to inspire. She’s an artist who always makes me smile for the wisdom, vitality and sheer energy of her practice, intimately connected to the Northwest land, sky and sea from which she is inseparable.

Lotte Glob " Flower of the Sea" (Ceramic)

Lotte Glob ” Flower of the Sea” (Ceramic)

One of the most moving works in the exhibition is Farewell to Footdee (Oil on panel 122cm x 183cm) by Scotland’s most significant figurative artist, Joyce. W. Cairns. In many ways the painting is an act of commemoration and remembrance, a strikingly poignant composition of memories which make a life. In frozen white, blue greyness, articulated by the pure warmth of cadmium /vermillion a masterful sense of composition emerges, in the structural diagonal and vertical uprights of the washing line, refracted light on the icy ground and the emotive placement of the human figure. As with all of Cairns’ work we are pushed psychologically to the edge of the frame and beyond it; by design, the distilled palette, the interior positioning of the figures and by the artist’s innate sensitivity. The acute subtlety of winter light upon the rooftops and gently nuanced expression on the face of the foreground female protagonist portrays a moment of vulnerability and sadness at the end of an era. The painting also acknowledges profound loss; of those who have passed, phases of life and aspects of self. Around the foreground protagonist’s neck is a medal of honour, engraved; “Footdee 1979-2014”, marking the artist’s departure for Tayside and a new chapter in the battle of a creative life. I always try to refrain from purely autobiographical readings of this artist’s paintings, because my sense of her work is that like all Great Artists she always transcends herself. It is true that most of Cairns’ female figures physically resemble the artist and that many of her paintings respond to life in the old fishing village of Footdee and the port of Aberdeen, past memories and familial experiences, but equally her field of reference is more widely European in painterly terms and in subject matter.  In her extraordinary body of work; War Tourist, Cairns certainly begins the journey re-tracing her Father’s steps through WWII Europe, but the visual statement that emerged out of this research over the following decade crosses all borders into contemporary conflict, the nature of war and the eternal human condition. There are few artists that share her command of large scale figurative composition, save German Expressionists like Beckmann and Grosz.  It’s the emotional gravitas and conscience in her work that is immediately and monumentally striking. Look closer and the balance of elements in her compositions are breath taking; a perfect synthesis of instinct, control, ideas and technique. Cairns’ familial memories are ever clothed in wartime dress, like the younger sister in red beret, gloves and shoes, who looks on in the mid-ground as the foreground Self departs the scene. However Farewell to Footdee is more than an image of individual/ autobiographical commemoration, remembrance or grief. The head and shoulders of the central female protagonist connects powerfully with the viewer’s space and the sense of loss we all feel when we leave part of ourselves behind in the places we have lived and in the people we have loved. Her tilted hat, crowned with a white boarded cottage whose chimney almost transforms it into a house of worship, carries emotional weight; like the posture of the tiny female figure leaned within the doorway, head downcast and hands in pockets. Time collapses into the line of cottages that frame an inner courtyard of the soul; the yellow warmth of light from open doorways in the background illuminating scenes of romance, isolation and loneliness re-enacted in the farewell.  It is impossible to see this painting and not be affected by its raw, profound emotional stillness or by the artist’s consummate skill.

Joyce W Cairns "Messerschmitt Over Footdee" (Oil on ply, 152cm x 122cm)

Joyce W Cairns “Messerschmitt Over Footdee” (Oil on ply, 152cm x 122cm)

In Messerschmitt Over Footdee (Oil on ply, 152cm x 122cm) Cairns assumes the role of an ARP (Air- raid Precaution) warden. Pushed into the foreground she is flanked by WWII ephemera; Lucky Strike cigarettes, anti-gas ointment and a gas attack leaflet arrangement of museum pieces.  The phosphorescent glow of the sea merges with the sky in the heightened perspective of the composition. The illuminating presence and bisecting geometry of searchlights, lighthouses, washing lines and the boundaries of the safe harbour are invaded by an enemy bomber. Again the central protagonist is positioned in the foreground, standing in the viewer’s space as witness, clutching a wreath of poppies to her chest.  Out of a first floor window a woman waves a union jack, whilst below a naked female figure emerges from an illuminated doorway. The idea of “keeping the home fires burning” and the anxiety of war on the domestic front can be seen in the pallor of her expression, articulated by the memories , stories and artefacts gathered by the artist, assimilated within her psyche as part of the War Tourist retrospective body of work.

Steve Dilworth "Throwing Object" (Burr elm, wren and bronze)

Steve Dilworth “Throwing Object” (Burr elm, wren and bronze)

A series of hand held objects by Isle of Harris based artist Steve Dilworth provide a very tactile experience of forms, materials and energy drawn directly from land and seascape.  Throwing Object (Burr elm, wren and bronze) transforms the viewer into a participant in its natural beauty and crafted allure. The organic form of honey coloured elm feels like it has been freed by the hand of the artist and the touch of the visitor, with the worn glow of patina we might see in an ancient church pew, smoothed by generation after generation. With carved hollows for the fingers it is designed to be held and has a visceral, irresistible, gravitational pull. Once held it feels comforting as the object’s centre of gravity aligns with your own, like a divining rod for the soul. This piece containing a small bird and held together by bronze fits comfortably in two hands as an object of contemplation or in the violent trajectory of one, it becomes a superbly balanced to “psychic weapon” of protection. The aged wood, once living bird and a metal, comprised mostly of conductive copper, create a unique flight path of intentionality and energy. The form feels organic but also like a human artefact and its gravitas can be felt in the ambiguity of its potential use. It is weighted in the interchange of crafting its two halves; for defensive action on the one hand, or meditative thought on the other; tendencies for creation or destruction which are both equally generated in moments of connection between Mother Nature and our own nature(s) as human beings. All of these associations flow from the intimacy, duality and ambiguity of an object which is not sculptural or a visual art in the traditional sense, but connecting with something deep, subconscious and essentially primal through the universal language of touch and collective memory.

Steve Dilworth "Deep Water" Water (Harris Stone, seabed water and whale bone, 10cm high x 17cm x 12.5cm )

Steve Dilworth “Deep Water” Water (Harris Stone, seabed water and whale bone, 10cm high x 17cm x 12.5cm )

This timeless quality can also be found in Deep Water (Harris Stone, seabed water and whale bone, 10cm high x 17cm x 12.5cm ) a drogue form of high contrast dark and light , grounded in the weight of solid stone and the depth of the emotionally conductive element held within it. Its hollows are curiously orbital and the delicate ridged line on top echoes a natural curve ending at the base of a skull, or the sleek skinned form of a sea mammal. The combination of water from the seabed off Rona, whale bone and Harris stone is inspired, with flecks of metallic starlight made visible by shaping and polishing. Seal Oil Stone (Harris stone, beach stone, copper, seal oil, 11cm high x 20cm x 18cm)  also illuminates the value held within in the vial of seal oil which glints like precious gold, encased in the hollowed interior of a large beach pebble, eroded by waves, and coils of conductive copper. The speckled surface of the stone, green oxidisation of the copper and glimpse of the object’s interior through a birth canal-like opening gives this work the feeling of a newly discovered ancient fertility object, borne of the sea.  The instinctive combination and alignment of materials which has its own dynamic flow in the artist’s studio, translates directly to the viewer through the nervous system. The form of the object is rich with associative triggers for the imagination and in this way, as with all of this artist’s work, the visitor/ participant completes the object.

The pure energy of liquiform water and solid stone is distilled in Wave ( Harris Stone, 18cm high x 20cm x 9cm) an incredibly compact curvature that seems to encompass the lunar origins of tides and the dynamism of a concentrated form turning in on itself. The natural qualities of Harris stone become flecks of salt spray in shifting seams of green, while the precarious power of a crashing wave is folded into stone. The material is transformed by the idea, energy and presence of Nature. The thinned spine of the object and its asymmetrical base playfully pivot the deceptively simple core form in a singular moment of recognition, preserved for all time.  On closer inspection the convergence of convex and concave facets reveal themselves as the light and the viewer’s position changes. The edges are shaped with characteristic precision, sharpened to the touch and the sense of dynamic movement is extremely powerful, vastly exceeding the physical dimensions of the object.

Will Maclean Voyage of the James Caird- Elephant Island (Painted wood and resin, 82 x 72 cm).

Will Maclean Voyage of the James Caird- Elephant Island (Painted wood and resin, 82 x 72 cm).

The expansive mindscape of the ocean is the subject of Will Maclean’s Winter North Atlantic (Painted wood and resin, 124cm x 105cm x 5cm) and a fine example of his work. (Reviewed previously as part of the Fiaradh gu’n Iar: Veering Westerly exhibition, IMAG, georginacoburnarts Blogpost 09/03/16.) Maclean’s exploration below the surface is realised with great subtlety in the abstract box composition Voyage of the James Caird- Elephant Island (Painted wood and resin, 82 x 72 cm).  Here the layered surface evokes the monumentality of a frozen wilderness, inscribed with human/ drawn marks of circular navigation and weighted plumb lines.  To the right a small rectangular cutaway reveals a line of swell and landscaped horizon conveying an emotional sense of movement within the expanse of the extreme Southern Ocean. The ice flow palette, which moves and melts before the eyes, encompasses a God’s-eye view and an interior window perspective penetrating the surface of the painting/ box construction.  It is a perfectly balanced abstract of painted, drawn and constructed elements referencing history and the spirit of human exploration. The journey made by Shackleton and his companions in the small boat the “James Caird” from Elephant Island in the South Shetland Islands to South Georgia in the Southern Ocean was a feat of courage and persistence. Maclean’s rendering conveys a state of mind and human vulnerability in relation to the environment, in the face of Nature at her most unforgiving. He achieves this in the drawn/ incised marks of a human hand and in the use of found materials, recovered debris from generational tides of human experience. In the presence of such a work we are brought face to face with the human scale of all our endeavours.

Kate Downie "The America Ship" (acrylic and ink on canvas, 167cm x 160cm)

Kate Downie “The America Ship” (acrylic and ink on canvas, 167cm x 160cm)

Kate Downie’s The America Ship (acrylic and ink on canvas, 167cm x 160cm) is a wonderful exploration of human and natural elements framed by the skewed perspective of a small boat enduring a swell. In an interior lounge space two figures sit apart from each other, staring out into an absorbing grey sea of their own thoughts. On the coffee table between them; a precariously poised model of a ship balances upon an elongated shadow of deepest blue. The coastline spills into the room and Downie’s ink drawn marks are fast, bold and gestural, rendering the figures with dynamic stillness. The ochre ground of the floor anchors the ebb and flow of life and relationships, while the ship’s wheel above spins like a hand of fate between the two figures. It is an image of human connection emotionally on board a model ship with the exterior environment brought into the domestic space to unexpectedly rich expressive effect. Part of what convinces in this work is Downie’s direct drawn response, characteristically invested in her subject.

James Newton Adams A Pocket Full of Fish (Acrylic on canvas, 97 x 97 cm)

James Newton Adams A Pocket Full of Fish (Acrylic on canvas, 97 x 97 cm)

James Newton Adams has contributed a series of strong compositions to the exhibition including As I was Going to St Ives (Acrylic on canvas, 86 x 96 cm) and In the Company of Birds, (Acrylic on canvas, 87 x 87 cm), injected with Newton Adams’ characteristically whimsical streak and naïve style, tempering what is a harsh human existence carved out between land and sea. One of the most interesting and affecting works in that respect is A Pocket Full of Fish (Acrylic on canvas, 97 x 97 cm) Newton Adams doesn’t often depict the female figure but here his expressionistic rendering of a pregnant woman with a baby standing beside the absence of her partner, his orange fishing overalls suspended from the clothes line, is an insightful and socially charged image of inevitability and unrealised hopes. The pocketful of fish in her partner’s overalls feels like a consolation prize, rather like the bundled child tucked nondescriptly in her arm like a lifeless, sleeping doll.  The mother’s bleak expression, mouth pinched shut like the red peg in her hand and with a hint of shadowed bruising around her eye, expands the in the pervasive mood of the composition. In the background a male figure plods, head bowed, along a depressively level horizon of road. Characteristic use of strong primaries; red, blue, yellow , together with the monochrome weight of white and black which delineates figurative scenes of coastal village and domestic life, give Newton Adams’ paintings a certain edginess and emotional height uniquely his own.

Mary Bourne "Cloud Mass Over the Sea" (Ink wash on paper)

Mary Bourne “Cloud Mass Over the Sea” (Ink wash on paper)

Edginess and emotional height is realised in a very different way in Peter Davis’s Edge of the Storm (Watercolour and pigment on paper, 50 x 70cm) in the tonality of forces; dark and light, pitted against each other in the still calm before the storm. This is beautifully realised in the bisected composition and expert handling of a fluid and notoriously unforgiving medium. What is captured very potently is the threat of the storm, the tension in the moment before the onslaught; that very particular angry blue/grey temper of Scottish skies which is part of the internalised character of Northern land and seascape. The way the pigment is suspended, preserved in its once liquefied medium, also conveys the anticipatory moment, that heaviness, which contrasts beautifully with a shining horizon line of light over the sea. A zen like economy of expression also infuses the ink wash of Mary Bourne’s Cloud Mass over the Sea, a wonderful dance between form, fluidity and reflection. In Red Cloud over Sea (Ink wash on paper) Bourne combines strong marks bled into the edges in a marriage of accidental and controlled marks, capturing one of Nature’s meditative moments. Her low relief sandstone and palladium leaf sculptures; Beach I, II, III (each 30 x 30 cm )present not just an effective abstracted play of light on the sand in three dimensions, but the understated simplicity, of leaving the door ajar for the viewer’s own imaginative experience of the shoreline; triggering memories of walking on sand among glinting pools and the dancing light of the sun.

Allan MacDonald "Great North Headland" (Oil on canvas, 40 x 152 cm)

Allan MacDonald “Great North Headland” (Oil on canvas, 40 x 152 cm)

A master of light and landscape painting in the Northern Romantic tradition, Allan MacDonald’s Great North Headland (Oil on canvas, 40 x 152 cm) is a triptych which celebrates divinity in nature, conjoined with a human heart and mind beholding it. The massed energy of turbulent seas are realised in an invigorating palette of ochre, orange, red, green, umber and white- the physicality of cold salt spray and the heat of sublime spirit animating it, seen as underpainting or ground emerging through the layered impasto. A progressively more abstract immersion Form and Void- Beauly Firth (Oil on board) is bolder and confidently intuitive, with large flat foreground brush marks, white ground shining through and a blaze of resiliently hopeful blue.  The paint handling reveals the artist’s direct response to the enormity of Nature; land, sea and sky, which comes from working outside in all weathers.  In Malestrom Eshness (Oil on board) a fury of waves crashes against the coastal cliffs- raw power, green, white, umber and furious grey, like the livid eye of stillness at the centre of a raging storm. These works aren’t seascape scenes, but richly interpretative paintings, demonstrating a commitment to craft and belief with the artist’s brush marks testimony to that all-encompassing devotional energy.   They are also very physical responses to an endlessly challenging environment. The artist doesn’t distance himself from the life force of nature all around him but actively goes out to meet it with all his perceptive faculties, not just what can be seen with his eyes. In consequence the viewer feels as if they too are standing on the edge of the cliff; in the grip of an essential dynamic between humankind, Nature and the eternal mystery of the sea.

All images by kind permission of Kilmorack Gallery.

http://www.kilmorackgallery.co.uk

Danish Diaspora – Scotland Seen Through Danish Eyes.

Danish Cultural Institute, Edinburgh.

1 August to 28 September 2014 and touring in 2015.

Amongst the madness and sensory overload of the Edinburgh Fringe I had the pleasure to be blissfully still in the Danish Cultural Institute’s gallery space for a wonderful exhibition of work by Lotte Glob, Lise Bech, Lillian Busch, Mette Fruergaard and Nickolai Globe. What struck me immediately was the sense of a living tradition of ancient Craft skills fused with Fine Art disciplines and striking Contemporary Design. What is so exciting about this show is the way that traditional Crafts such as Ceramics, Weaving, Gold and Silversmithing incorporate elements of the Scottish landscape to transform the viewer’s perception of place and genre. Each artist reveals the integrity of handmade objects as part of a tradition of seeing ourselves in relation to our chosen environment; tapping into a deep seam of knowledge and indigenous understanding of place and materials.  This is an expansive show in terms of what Craft can be, blurring the lines between Applied and Fine Arts, reflecting the dynamically fluid relationship between the two in many artist’s studios.

Lotte Glob Moon Pool Lotte Glob Rock Eyes

Lotte Glob, Moon Pool,Rock Eyes

Displayed on one wall Lotte Glob’s superb sequence of sculptural plates are of a cosmic scale in the imagination. In form and feeling Moon Pool seems to encompass the entire world and its eternal cycles. Crater Pool with its iridescent ultramarine core is another magnificent example. The use of materials and handling of glazes create an imaginative space of deep time; molten stone dripping into the centre, colours and textures evocative of ice, fire and millennia of Geological change. Glob’s work is forged physically and spiritually from the landscape. It is made of that land, from rocks and sediments gathered from the mountainous Scottish Highlands, home to the artist since 1968. In the beautiful and mysterious free standing sculptures Rock Eyes and Boulder Eyes we can sense a human eye and mind perceiving the landscape; the land and collective memory staring back at us, a tangible connection to a long history of seeing and making. Glob’s work presents a symbiotic relationship between Art and Life. There is tremendous respect for natural, primordial forces communicated in her work that never fails to inspire. She is an artist living consciously in her chosen environment, with tenacity, joy and a lifetime’s experience in every work. In the Western canon Creativity is often defined in terms of masculine energy and egotism. Lotte Glob’s work is a more expansive exchange that redefines our relationship with the natural world and the role of creativity in our lives. Many of the artist’s works are returned to the landscape, placed in lochans and on mountain paths, a natural gallery. At her sculpture croft on the shores of Loch Eriboll she has created “a place for discovering…, contemplating and enjoying a point in the universe” consistent with her life’s work.

mette fruergaard, wall boxes Mette fruergaard, box, aluminium,beech and resin

Boxes by Mette Fruergaard

Mette Fruergaard’s finely crafted boxes seamlessly combine materials such as wood, aluminium, copper, bone, resin and concrete in a union of form and function. Many of these are almost architectural in form, an unexpectedly beautiful fusion of organic and industrial design consistent with the Danish tradition but with the subtle accents of colour and light typical of the changing Scottish seasons. Fruergaard-Jensen’s “silent language of materials” is also revealed in selected pieces hung above the main display of boxes which invite the viewer to contemplate the tactile beauty of raw materials; the powdery midnight patina of a lump of  charcoal or the playful suggestion of a lion in wood grain. Using found and recycled materials highly finished surfaces are contrasted with textures formed by time and weather.

Lise Bech Venus and Mars dancing2 Lise Bech Venus and Mars dancing1

Lise Bech- Venus and Mars Dancing (2), Venus and Mars Dancing (1).

Lise Bech’s basketry immediately invokes a world of Iron Age Crannogs; functional forms of creels, platters and cauldrons melded with expressive, asymmetrical, contemporary form. The scents of natural materials like willow are part of experiencing this work, creating powerful associations across time, transporting the viewer beyond the city gallery space and into the countryside. The rhythm of the weave feels as central to this Craft as the natural cycles of growth and harvest that provide raw materials for Bech’s Art. The wall piece Venus and Mars Dancing (Lath & Willow) evokes an eternal pattern of mythology and creative energies, masculine and feminine. Celtic Coil Cauldron (Salix p. Dicky Meadows) has its own distinctive energy, defying functionality as a poetic object woven from multiple traditions. Bech’s basketry aligns itself to a state of being in relation to the landscape; a return to Craft as a signifier of social and cultural cohesion, rooted in the earth. Its ancestry is simultaneously Viking, Celtic and in terms of why human beings need to create in the first place, universal in origin. What many contemporary Artists/ Makers bring to our attention is the rhythm of a living Art that connects us to the natural environment. Both in the making and experiencing of the work there is a meditative element in play, a powerful antidote to an age of mass attention deficit and unprecedented technological and social change.

Lilian Busch, Bangle silver,gold, diamonds

Bangle by Lilian Busch

Lillian Busch’s jewellery also provides points of recognition and delight on an intimate scale; worn on the body, close to the skin. Bangle (46.Silver, 9 & 18 ct Gold, Diamonds) in its incredibly subtle use of gems could be likened to a pin prick of light seen through a dewdrop. The unexpected oxidised finish of this piece invites closer inspection in its sensitive rendering of materials. Unlike the usual use of sparkling diamonds and shiny metals to proclaim wealth and status, Busch’s work doesn’t reveal itself immediately but allows its richness and beauty to unfold. Inspired in early life by the Danish jeweller Ingeborg Mølsted, Busch’s designs incorporate ancient forms like the Torque from Viking and Bronze Age jewellery. Neckpiece (34. (9ct Gold, Jade, Silver, Rubber, Bayonet Clasp) feels almost ceremonial in function; an inventive combination of precious traditional and everyday industrial materials to create an intimate object of adornment and human connection.

Nickolai Globe, Mantle3

Detail from the Mantle Series by Nickolai Globe

Nickolai Globe’s high fired ceramics of earthenware, porcelain, stoneware and minerals are arresting for their elemental, physical embodiment of natural forces. Ova for example with its volcanically ashen surface feels like an egg of creation and primitive shield, there at the beginning of all human life; protective and expansive, microscopic and cosmic in its associations. Vessel Core with its stalactite- like form and finger marked surface could be a geological sample or the record of an entire species and its core beliefs. There is a blurring of lines between the naturally formed and man-made structures in Globe’s work which is immersive and intriguing. Relic reads like a naturally occurring piece of fossilised earth marked by the tracks of an unknown species, it is impossible to know where the hand of nature and the hand of the artist begin and end. Similarly the boat-like vessel Kronos with its ridged formation like eroded sandstone is both immediately tactile and physical, but also  an excavation of collective archeology. The artist’s series of sculptures Mantle; 3, 4, 5 & 6 present the raw physicality of a living crust of rock and earth being formed, twisting and turning, ancient forces suspended in time. Blackened by the fires of creative energy it is also the mythologies we cloak ourselves in. There is reverence for the natural world in this work together with reverence for the artist as maker in pieces such as Ferrous Manus. Globe’s Art reflects his work with COBRA Group ceramic artist Erik Nyholm in Denmark, rooted in the folkloric tradition and Thanakupi , renowned ceramic artist and Aboriginal Elder from the Cape York Pennisula, Queensland, Australia, in its exploration of ancestral narratives and indigenous understanding of the earth.

Exploring the relationship between natural and man-made forms is a major strength in the work of Artists, Designers and Architects from both the Danish and Scottish traditions in terms of continuity and innovation. Historically this visual literacy has been recognised in a European, rather than a National or UK context which is why exhibitions like this one are so important as part of a process of cultural reappraisal on an international stage. The work in this exhibition represents a state of being in relation to Craft; part of a living, breathing  tradition rather than a revival or a memorial to ways of seeing long past. As an ex-pat Australian I am fascinated by the cultural migration of people and ideas, how visual language, mythologies and narratives evolve, fuelled by people, place and memory. What “Danish eyes” bring to our understanding of the land I also call home is dynamically charged, full of subtlety and complex associations. It is uniquely of its place and universally global in scope, bringing us closer to the vital spark of why human beings need to make Art in the first place- to make sense of the world and ourselves within it.

Danish DiasporaScotland Seen Through Danish Eyes

At the Danish Cultural Institute, Edinburgh until 28th September, then touring in 2015 to;

Peter Potter Gallery, 2 February – 28 March 2015

Rozelle Hopuse Gallery, 11 April – 17 May

Highland Regional Museums, 1 June – 28 August

Bonhoga Gallery, Shetland, 12 September – 25 October

www.dancult.co.uk

Artist’s websites;

www.lotteglob.co.uk

http://mettefruergaardjensen.com

http://bechbaskets.net

http://lillianbusch.com

www.missionhousestudio.blogspot.co.uk