Karla Black and Kishio Suga: A New Order

Scottish National Gallery of Modern Art  22 October 2016 – 19 February 2017

Kishio Suga Condition of Critical Boundary, 1972. Wire mesh, brick, wood, stone (dimensions variable) Installation view at Tamura Gallery, Tokyo, 1972. Photo: Kishio Suga. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo.

Each thing and space had belonged to particular worlds of their own before they were hand picked up by the artist and in these worlds they all had preconditioned orders labelled by nature or by people. Orders here mean ranked situations or hierarchy, whether they have certain parts in the place or not, their values, demands, qualities or quantities…my final point in making artworks is to introduce ways to see and learn about things, to perceive an existing space differently so that viewers can experience a new kind of order. If they can apply their experience with art into their daily life, the new order may find settlement there. I would like to introduce a new way of reacting (to situations) in all viewers.”  Kishio Suga, essay Between ‘being’ and ‘nothingness’ (2005)

The pairing of Glasgow based artist Karla Black (b. 1972) and Japanese artist Kishio Suga (b.1944) is inspired in terms of the questions raised about how we experience the world and the entire arena of Contemporary Art. A New Order is the first in a proposed series of exhibitions placing the work of Scottish contemporary artists in an international context. It is also the first major exhibition of Kishio Suga’s work in the UK, coinciding with his solo exhibition at the Dia Foundation in New York and his retrospective at the Pirelli HangarBicocca, Milan. Part of the informal, pioneering, and experimental Mono-ha (“School of Things”) movement in 1960’s and 70’s Japan, Suga’s work incorporates everyday organic and industrial materials including stone, wood, iron, wire, glass, zinc, earth and paraffin wax. “Rejecting representation” and the “illusionism” of Western Art, he presents the viewer with “situations” where materials are placed in a specific location to explore the relationships between them, the surrounding space and the human mind perceiving them.

It’s easy to be dismissive of the plethora of contemporary artists now working with the assemblage of everyday, found objects/ materials and forget that not all Art evolves out of the same ground of intention as that which the 21st Century Art market made fertile. Although they have become synonymous the business of making Art and the Art World business are not the same thing and this exhibition provides a good opportunity to reappraise expectations of how full, empty or poisoned the Contemporary Art chalice might be. Historically Suga represents a different generational, ground breaking spin on re-assembling the world, a “New Order” of seeing,  which I think is at odds with how many viewers today may initially approach this work, having been lulled into material familiarity. The best works in this show from both Black and Suga arguably have their origins in a ground of understanding beyond an instantaneous, fleetingly bright idea or the desirous draw of certain materials. Connections are made holistically through the senses and with the dynamics or tensions of seeing present in each room. This is particularly true of singular works which effectively command the space they occupy.

Kishio Suga Left-Behind Situation 1972/2012 Installation view at Blum & Poe, Los Angeles, 2012
Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photo: Tsuyoshi Satoh

Kishio Suga’s Left-Behind Situation (1972/2012, Stone, steel plate, brick, wire rope) is a very good example. The first thing that hits you is the smell of timber which is powerfully evocative, pieces in natural states contrasted with veneered, manufactured fragments, placed at intersections in a complex matrix of suspended wires. The primary sensation is physical rather than intellectual, which is unexpected in what might seem like purely conceptual territory. Often when encountering art installations we walk in –get the idea and walk out again; there’s nothing to imaginatively reveal itself and its game over once we read the explanatory label beside the work. What made me smile; standing on the threshold of the doorway to this work and my own curiosity was feeling slightly off-kilter. I like it when Art isn’t easy, when it intrigues or disarms me in ways I don’t expect. I don’t want to hear the punchline first or be told what to think or feel about a piece of work, which is why I avoid all text labels in the first instance to see what the work itself has to say. What I discovered in Suga’s Left-Behind Situation was a pleasing sense of precariousness in play, also seen in Interconnected Spaces (2016, Rock and rope) where the weight of a stone contained in its shadow pins down four ropes, tethered to the gallery walls. It’s strangely beautiful in its simplicity and pregnant silence. The placement of this work in the bare room made space for me to stop and pay closer attention to what was around me and where I stood in relation to the work on various levels. I began to notice circular marks on the floor, whether accidental/ residual or intentional it was impossible to say. It felt as though they were stains around where other placed stones may have stood, or perhaps they were marks left by a different artist from an entirely different show. The point was I was curious about everything in that room, including the marks on the wooden floor. The form and texture of the boulder with its aged erosion and dirt expanded my focus, framed by the tension of ropes. When I first stood in the doorway, seeing this work from a distance, I felt as though time had stopped; a moment before the possibility of ropes snapping to potentially fling the stone across the room, so where I stood in relation to it became a question mark. The large boulder felt like a living entity rather than a dead object, an opportunity for the viewer to pause and imaginatively grapple with their relationship to the raw, natural material and the surrounding man-made space. There is something very Zen about this work which doesn’t stand upon words but the dynamics of perception as an infinitely fluid process. The Art work acts as a point of reference rather than the end product representing, describing or symbolising a certain meaning. In many ways Suga’s work strips Art of its Western preoccupations of attributing value and describing meaning, reassembling materials from the real world so that the viewer can compose their own New Order.

Kishio Suga Interconnected Spaces, 2016.Installation view at the Scottish National Gallery of Modern Art, 2016. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo
Photo: Sam Drake.

In a similar way I remember very clearly my first encounter with Karla Black’s impressive, resonant installation works in the barrel vaulted Hall of GOMA back in 2012 which floored me with their formal structure and fragile delicacy. (See “Writing” tab of archived reviews)There was so much more in play than just an idea or materials extracted from the mundane domesticity enshrined in an empty white space. The raw material of Black’s Art provoked a multitude of questions and associations, engaging all of my senses in a powerful, unanticipated way. Her painstaking, mindful construction inside that particular architecture naturally spawned layers of interpretation and went a long way to dispelling what I usually see as the Turner Prize nominee curse of endorsement. Ideas or technique by themselves are never enough, nor are they very satisfying for the viewer when seen consistently in isolation. Just watch people in contemporary art spaces the world over reacting to the work and then attempting to marry that response to the labelled attribution of value and meaning beside it. Be assured -your guts are never wrong! All Art stands or falls all by itself, regardless of what may be written alongside it.

What my guts told me about Black’s work in that moment was to pay attention- not to the branded ego of the artist (thankfully not present) which is often the only thing on display, but to the very tactile qualities of the chosen material and my relationship to them as a human being standing in that space, as part of a wider world of imagination. There is something very freeing and also grounded about Black’s approach and intentionality, aligned with the meaning of play in human development, drawn from the unconscious. In a low, horizontal work like Better in Form (2016, Cotton wool, kitchen towel) she encourages us to psychologically get down on the floor in terms of the inner child and move into a different state of sense recognition. Part of this derives from the artist’s own memories of play as a small child; contact with water and sand, but that tactile discovery of the world is universal in all human development. The colour, texture and smell of materials are potent triggers, providing immediately tangible ways into works which resist classification; what the artist describes as “almost” sculpture, painting and performance art, “pulling back” the work before it becomes the label. In Black’s own words; “I think of language as an inadequate, primitive tool. The primary function of the work is aesthetic, formal and material. What comes first is colour and form, composition and scale and then a very firm and separate second comes language.”

Before we learn hierarchies of class, culture and attributions of value, as children we all naturally respond to what we can see, hear, touch and smell with spontaneity and desire. Black’s materials; cellophane, ribbon, sellotape, plaster, chalk powder, soil and dominant palette of pastel baby blues, pinks, yellows and greens are non-threatening, comforting invitations to the viewer. They’re not visually or emotionally cold as they anchor the aesthetic to what is tacit. The shimmer of eyeshadow, lip gloss, petroleum jelly or the softness of cotton wool, polythene and powdered paint exist in Black’s pre-gendered world of exploration and discovery. What convinces is the physicality of material as an emotional touchstone, rather than its intellectualisation through language- it’s about human creative process rather than product or the artist as a brand. Black’s work is refreshingly real in that respect; only abstract in the sense that we are preconditioned to regard Art as something belonging to somebody else, divorced from daily life and the instinctual base of learning that is what we are as a species. Having unleashed my Id standing in the doorway of Gallery 3 viewing Black’s Too Much About Home (2016, Cotton Wool, powder paint, plaster powder, cellophane and sellotape), was frustrating because her work invites closer inspection through touch. The installation is grounded on the floor, extending to the ceiling and one wall, inhabiting the space like a growing organism and creating a topography of feeling in the gradated, low relief rise of teased out cotton wool and scattered pink, yellow, blue and green pastel pigment. You can see the imprint of the artist’s footprints into the middle of the work, still fresh from construction.  It’s a soft, cushion of an island with a triptych of paint suspended on cellophane above, hung from a pliable framework of sellotape, reawakening child-like curiosity, instinct and traditional painterly awareness of composition. Crisp, transparent material is contrasted with comforting hues and cloud-like cotton wool, evoking memories of childhood when we weren’t afraid to make anything. In the corridor outside a series of Black’s hung compositions present evolution of mark and form; progressing from the defined structure of cotton wool balls, flattened into a ground for gestural paint marks, Abstract Expressionist-like fields of overlapping pastel colours which then morph into singular sculptural forms; relatively small in relation to the space around them, but quietly commanding all the same. There’s a sense of play and experimentation with the base elements of Art making; colour, form, line and texture within a subtly equal tonal range.

The sculptural form Actually Mark (Cotton wool, balsa wood and eyeshadow) isn’t monumental in the way we might expect; with a totemic pink plinth of modest scale occupying a room all to itself, the certainty of its edges ambiguously fluffed in cotton wool and coloured by impermanent makeup, attended by a smaller familial blue form on guard near the threshold. The way the works speak to each other in terms of form, scale and colour is an imaginative trigger and although the artist denies gender or cultural associations with colour, they are unavoidable in the mind of the viewer; perhaps saying more about human conditioning than the artist’s intent.  Other Civil Words (2016, Polythene, powder paint, plaster powder and thread) is another example where pink and blue pigmentation isolated in knots are collectively suspended above the floor like a silent pause in an opaque web of relationships. The gentle tensions of the material pulled and knotted into formal opposition is fragile, equally poised and tethered inside a still room. There’s a feeling of slight unease, with the possibility of movement should the slightest breath of air or atmospheric change enter the space. It is a surprisingly human and emotive work made from ethereal, mundane materials and elevated; in physical height and by the act of display in the gallery space. Permanence, commemoration and monumentality isn’t the aim or trajectory of Black’s Art. Instead the focus is on the plinth upon which we place our own expectations and constructs which she encourages us to abandon for something arguably more experientially real.

The felt sense and physicality of the materials speaks when standing in the space that Black’s work occupies because the viewer’s imagination is free to fill it. There are no prescribed meanings, although it could be argued that titles dance along that tightrope. Similarly Suga’s use of Japanese ideograms attempt to resist the descriptive labelling of his Art, although in the context of a Western Gallery space arguably there will always be translations and explanations present. (Interestingly a resources room has been provided in this exhibition.) However Suga’s work is essentially about “Activation” in that what is intended is for the “viewer [to start] to think about what it means”, presenting the possibility of multiple layers of human thought and action without spoon fed conclusions. What said this better than any text ever could was the grainy profundity of Suga’s photograph of one of this fieldworks, Condition of Perception (1970, Silver gelatin print). This documentary image of the residual mark left by a stream of water down a residential Tokyo Street is, even in its spilled state, eternally fluid. That line of water invites your eye deeper into that fixed, two dimensional, but ever expanding space. In that moment captured on film there is something incredibly moving and humane about that vision, even though it is one step removed in being a record of a human action with a natural element in play. My immediate response to this photograph was overwhelmingly emotional. Significantly I felt the possibility of what was being said and the difficulty of communicating a temporary action or art work was overcome by the eye/ mind composing the image and activating the shutter. What shone through the image was intention, openness and hope, placing trust in the viewer to find what they will in that fluid movement between an element of Nature and human nature, which is hardwired to seek understanding.This is an exhibition which challenges the viewer; “I’m looking but am I really seeing- what could that element be? I want to unravel it.”

https://www.nationalgalleries.org/whatson/on-now-coming-soon/karla-black-and-kishio-suga/

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

Reflections on An Linne

Jon Schueler Centenary Symposium and Exhibition

Sabhal Mòr Ostaig, Isle of Skye. 27-29 May.

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1973, Jon Schueler in his studio in Mallaig, Scotland. Photo: Magda Salvesen

How refreshing it is to have Art spoken or written about as a living thing! It is a rare convergence when an artist’s work finds its way back to the land and seascape that gave birth to it, accompanied by a circle of intimate reflections from family, friends and colleagues. The An Linne: Echoes, Reflections and Transfigurations symposium held at Sabhal Mòr Ostaig UHI, on the Isle of Skye was a unique event; the opportunity to focus exclusively upon the life, work and impact of an artist who turned his back on the New York art world, moving to Mallaig on the Northwest coast of Scotland from 1957-58 and 1970-75. Overlooking the Sound of Sleat Schueler immersed himself in the elusive, fluid spaces between land, sea and sky overlooking, grappling with the true North within.  The confrontational Art of painting and the ultimate joy and terror of life expressed in his paintings, transcend their time and place. At the heart of Schueler’s work is “the search” and the struggle of acknowledging what we are as human beings and being authentically who we are as individuals.

Having spent way too many hours of my life listening to academics kill the meaning and joy of Art by drowning it in their own vocabulary, it was a real delight to see such a multi-faceted and heartfelt celebration of an artist’s work. Hearing the perspectives of those who knew, loved and worked with John Schueler, combined with those exploring “the deepening North” he was vitally drawn to was a real privilege. The core of his work was expressed and explored in many different ways; in words, music, through Gaelic language, painting, film, photography and at times, overwhelmingly, beyond them all in silence. The symposium offered a wide range of speakers from different backgrounds; Magda Salvesen, Jon Schueler’s widow and curator of his estate; Professor Meg Bateman, Sabhal Mòr Ostaig; Dr Lindsay Blair, UHI; Mary Ann Caws, Professor of English, French, and Comparative Literature, City University of New York; Richard Demarco, CBE; Kenneth Dingwall, artist; Marian Leven RSA, artist; Will Maclean RSA; Dr Anne MacLeod; Professor Duncan Macmillan; Angus Martin, poet and historian; Dr John Purser, Sabhal Mòr Ostaig; Marissa Roth,  photographer, writer and curator; Carl Schmitz, Visual Resources & Art Research Librarian, The Richard Diebenkorn Foundation; Dr Joanna Soden HRSA; Finlay Finlayson who chaired a discussion with members of the Mallaig fishing community; Rob Fairley, Hamish Smith and Will Maclean; Professor Jim Mooney, artist and writer; Helmut Lemke ,sound artist, Jon Schueler Scholarship Artist 2014 and Oliver Mezger ,film artist, Jon Schueler Scholarship Artist 2015.

This gathering and the exhibition of selected oils, water colours and drawings from Schueler’s Mallaig years, together with the work of Jon Schueler Scholarship recipients 2013 – 2015, Takeshi Shikama, Helmut Lemke & Oliver Mezger, are part of a wider programme of events in the US and the UK celebrating the centenary of the artist’s birth. Seeing Schueler’s work exhibited at Sabhal Mòr Ostaig provides a unique opportunity to view his paintings juxtaposed with the natural environment outside, looking directly across the Sound of Sleat to Mallaig. It was a pleasure to see his paintings inhabiting this space; of shifting light, time and weather and being able inhabit them in such an immediate way as a viewer. There are many painters inspired by the landscape of the Highlands and Islands, but what separates the good from the great is arguably the capacity not just to “paint Nature” in a pictorial sense, but to “paint about Nature”, interpreting and expressing what it is to be truly present in the face of it. As Schueler expressed it; “the mystery is Nature and we are part of Nature.” Confronted with Nature’s elements and raw pigment, there’s nowhere for the artist to hide.

There is nothing Romantic about the process of making Art. In reality creative genius is always tethered to flesh and blood, human vulnerability and frailty. Equally vision and aspiration; striving to know the unknowable, unceasingly desiring what is just beyond reach, grappling with what we sense and see in fleeting moments of recognition are essential qualities for artists whose work resoundingly survives them . It is in the act of making that human beings find their divinity, closest to the truth of what we are and what we’re capable of, poised somewhere between heaven and hell.  The Art of painting is founded in a struggle with the medium and with oneself. It’s that essential creative drive to make sense of ourselves, the world within and without, coupled with our capacity for destruction and annihilation that defines us as a species. From his experiences during WWII to the confrontation of the studio, Schueler was intimately and intensely familiar with both tendencies. As a navigator, flying directly towards enemy fighters and gunfire, Schueler was confronted by imminent death and what he called the “failure” of his survival on a daily basis. This aerial vantage point, right on a psychic edge of consciousness, between the immediate possibilities of life or death, is relived over and over in his paintings.

On the first evening of the conference Richard Demarco highlighted the profound and lasting effect of WWII on an entire generation; an observance normally referenced as a generationally distanced footnote in the discussion of an artist’s work. He spoke passionately about the physical and psychological effects of the war and about his own experience during a bombing raid at Portobello Beach, Edinburgh, as a child; waving to the fighter crews and picking up still warm shell casings from the sand, innocently taking them home. Much later in the early 1980’s at the Talbot Rice Gallery in Edinburgh, Demarco brought together lived wartime experience from opposite sides of the conflict in a meeting between Joseph Beuys and Jon Schueler. Within this gesture is the ethical imperative of Art and Art practice as the most powerful means of understanding and transformation that we possess; an ancient, Celtic idea which Beuys identified strongly with. Demarco’s perspective on Schueler’s work, like his reference to Martel’s “Reclaiming Art in the Age of Artifice” was very much about individual “ego dissolved into something bigger”. It is in the cosmic scale and unfathomable presence of Nature, that Schueler came face to face with his own. All of life’s questions were projected into the concept and physicality of his Northern skies; all of his joy, passion and rage, the unknowable Mother lost to him soon after birth and the Goddess Nature, mirrored in his own soul, cloaked by male desire. As Jim Mooney described, the “primacy of touch”, the innate sensitivity in Schueler’s Art, makes us aware of the duality of light within and without, which obscures as much as it illuminates. In Schueler’s own words; “rending veils of self-deception in the sky”, part of an eternal process of human creation and longing.

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1970, Jon Schueler in his studio, Romasaig, Mallaig. Photo: Magda Salvesen.

Schueler’s painting is immediate and gestural, grounded in loneliness, the guilt of survival and his parallel journeys into the psychological, interior worlds of Abstract Expressionism and his own true North. As Mary Ann Caw eloquently described; “The North is wanting”. In a painting such as Grey Sky Shadow, III (1974, oil on canvas) there is a palpable sense of a warm blush of orange, elusively hovering and emerging through the opaque subtlety of mauve-greys.  The colour drawing the eye is pushed to the edge of the composition as if in another passing second it will vanish beyond reach again. Broad brush marks rendered with a delicate touch reveal the artist’s sensibility in that moment. Seeking a connection with something greater and more enduring than ourselves is not a matter of cerebral indulgence but a holistic act of survival.

There is a long artistic tradition of Romantic engagement with Nature – or to be more accurate, the human eye and mind perceiving it and this is certainly one of many pathways into Schueler’s Art.  Jim Moodie made the connection between the artist’s work and one of my favourite texts as an undergraduate; Rosenblum’s Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko.  The pure inspiration and the great void of Friederich’s Monk by the Sea (painted between 1808 and 1810) has much in common with the human presence, emotional gravitas and intellectual trajectory of a Rothko or a Schueler painting.

Carl Smitz’s wonderful discussion of American Abstract Expressionism revealed another ethical dimension to Schueler’s practice; in Robert Motherwell’s insistence on sheer presence, invention and resolution through painting and in Ad Reinhardt’s witty cartoon; asserting that painting “is alive if you are!”Reinhardt challenges the viewer, like the artist, to define the ground upon which they stand. As Mary Ann Caw commented, Schueler’s “presentness” in his painting, his “creative anger” and “refusal of passivity” can be felt in the “residue” of his paintings. The confrontation of what we stand for collectively and culturally was also explored in Meg Bateman’s paper; “A Gaelic Way of Seeing? on language determinism, part of a much wider ongoing debate and reappraisal of the Visual in Gaelic Culture.

The question mark within the title originates from the evolution of modern Gaelic; becoming progressively more aligned with English translation and therefore describing rather than attributing values and meanings to the naming of colour as part of an indigenous world view.  Scales of colour were once understood “as part of a process” and in more holistic terms; in “varying scales of saturation, shininess and hue”, rather than being narrowly defined, or labelled. Connected with the natural world and its cycles, the historical Gaelic colour terms “appear to have been based on several different axes- on the degree of saturation, ranging between rich and pale, on the degree of reflectivity, between matt and shiny, on temperature and on the degree of patterning, between multi-coloured and plain. Domain further defined hue.”  In older Gaelic word usage, shininess and saturation of colour reflect cultural aspiration; attributing “praiseworthy” qualities or conversely, “contemptible” dullness. This sophisticated, multi-layered understanding of colour goes beyond simple translations of “green” or “brown” in English, revealing a different mindscape within the land and seascape of the Gaidhealtachd.

This innate connectivity of old Gaelic as a visual language arguably finds its closest translation today in the work of visual artists (regardless of their native tongue), whose chosen mode of expression is far less susceptible to language determinism. Drawing on an ancient vocabulary of understanding that existed in previous centuries highlights another level of loss and appropriation of language.  What we see in Schueler’s nuanced palette/ paint handling or in that of contemporary Scottish Artist Marian Leven is a close affinity with subtle scales of colour found in Nature and uniquely in the North of Scotland, defining ways of seeing and cultural values that fundamentally differ from dominant Western consumer culture. Leven’s observation about the “remoteness” of sky/ eye line of Manhattan compared to the North of Scotland, where the eye is level with the coastal horizon, a line “that embraces you like a mother” and the sense of continuity this imbues is extremely insightful in this respect. Bateman’s paper caused me to reflect a great deal upon what it means to be an artist and what our use of language; verbal, written or visual, says about collective cultural values and aspirations, our propensity for creative renewal and our capacity for survival.

The Highlands and Islands are often defined in terms of parochial remoteness, occupying a place in the global imagination right on “the edge of Europe” , however as Marian Leven rightly pointed out, this depends entirely on where your starting point is. Although Schueler chose to live and work in relative geographical isolation in the Northwest of Scotland, the scope of his work is a potent reminder that “the whole point of looking into is looking beyond”.

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December 1970, Jon Schueler at the door of Romasaig. Photo: Magda Salvesen.

http://www.jonschueler.com

http://www.smo.uhi.ac.uk/en/ealain-is-cultar/jon-schueler-centenary-symposium/

Fiaradh gu’n Iar: Veering Westerly

WILL MACLEAN 27 February – 26 March 2016, IMAG.

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Storm-Bird Harbinger by Will Maclean, No7 in a series of 12 collages and poems;  A Catechism of the Laws of Storms, in collaboration with poet John Burnside. Image by kind permission of Art First, London.

With due attention, everything is song. John Burnside, Song of a Storm-wave.

I had the pleasure of attending a talk by Will Maclean recently, coinciding with the opening of his latest touring exhibition; Fiaradh gu’n Iar: Veering Westerly at the Inverness Museum and Art Gallery (IMAG). Developed in association with Art First, London and An Lanntair, Stornoway, the show contains striking new work including his collaboration with poet John Burnside; A Catechism of the Laws of Storms and wonderful examples of retrospective works drawn from public and private collections.

There is something seamless and powerfully evocative in Will Maclean’s work that seems to emerge from the collective unconscious, deep below the Plimsoll line. Objects dredged from a vast ocean of human consciousness are potent triggers of memory and narratives, woven in the mind of the artist and the imagination of the viewer. Maclean’s Art is as grounded as it is profound; borne of a Craft of making, a tactile tradition integral to life on and by the sea, part of the artist’s bloodline and inheritance. Described as “artist laureate” of the Highlands and Islands, Maclean’s work has always grappled with the poetics of visual language; sensed and felt in the natural environment he grew up in and woven into the rhythm of sailor’s knots, binding organic and man-made materials together in his work. The skills of an artist, visual poet, engineer and mariner are finely honed in his box constructions, drawings, collages, screen prints, sculptural installations and monumental land based works. His assemblages of objects cast ashore on eternal tides of human history feel strangely comforting; part of an archetypal inheritance of mythologies collectively shared. It’s this transcendental quality of the specifically local and deeply personal, expanded to the universal which distinguishes and elevates MacLean’s work. Having left a life at sea and “swallowed the anchor”, his practice is indigenous in the fullest sense of the word; bringing a deep, reverent understanding of the history, folklore and mythologies of the tribe, together with an intimate knowledge of the physical environment to all his visual and sculptural work. Maclean’s practice of assemblage and collage creates its own particular Surrealism; a heightened awareness in bringing objects together across time, melding two and three dimensional techniques in a fluid exploration of individual identity and our collective selves.

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Left to right: Memory Board (Mixed media and found materials) and Winter, North Atlantic (2014, Painted wood and resin, 124 x 105 x 5cm) by Will Maclean. Image by kind permission of Art First, London.

Winter, North Atlantic (2014, Painted wood and resin, 124 x 105 x 5cm) is an intensely powerful example, rendered with all the artist’s understanding and “due attention”. The surface itself is exquisite, a fine gradient horizon of steel hue and an inlaid, mouth like tomb, striated and metallic as the taste of blood. The core depth of this sculpted surface has an aerial, God-like perspective, like that of a receding cargo hold; part reliquary, part refuge for the unconscious self. The oxidization of natural processes and flow of crimson are framed and held within what feels like a monumental expanse of richly textured, dark ground. The bend of wood warped by ocean waves and floating text surface and subside in a fluid interplay between two and three dimensions. This is how mind and memory work and one of the joys of experiencing Maclean’s Art is identification with what it is to be human; the mystery of what is known and what can be sensed in the inky depths or brilliant white illumination of his carefully layered grounds.  Often drawn marks are part of this framed foundation into which Maclean places assembled and hallowed objects. Like an ancient explorer of unchartered waters, the artist casts his nets deep; divining, navigating, visualising pathways of meaning and narratives, drawing the viewer compellingly into the work.

One of Maclean’s mixed media box constructions Fladday Reliquary, part of the IMAG collection, is a particularly beautiful example. The bone white delicacy of a bird skull is framed and held by charcoal fired wood, rusted hooks and lineages disappearing into the base of the construction. The stark tonality of found materials and layered recesses lead the viewer further into the work with each successive viewing. It is a shame that this work and others in the IMAG collection are not on permanent display as part of the visual culture of the region. Like Maclean’s creative excavation of our collective archeology – if you want to come into contact with the visual traditions of the Scottish Gàidhealtachd then even in 2016 the viewer/ audience still needs to go digging. This work ought to be part of a permanent display, a publicly visible cultural statement which exists in other cities the world over. Go to Spain for example and you won’t find Picasso, Goya or Miro permanently hidden in storage, visible only when a touring exhibition illuminates their significance. In cities like Barcelona, Madrid or Amsterdam, Art as a reflection of Culture is resoundingly present, part of how the city, region and country sees itself, acknowledged internationally. The quality of this exhibition and the nature of its content present a compelling argument for celebration of the continuity of Scottish Visual Culture, confronting difficult but essential questions about historical precedents of cultural ownership in the process.

Maclean’s work has always engaged with this visual tradition directly through the Craft of making. Memory Board (Mixed media and found materials) is a poignant example, the fragment of a life boat both literally and metaphorically. In a progression of thought, materials and tonal submersion this piece feels like an anchor of the soul, with memories of men and fishing boats flanking either side of its triangulated apex. The movement from dark to light feels both grounded and aspirational, a monumental fragment, worn by time and the elements; weathered driftwood, riveted copper oxide metal and fragile human handwriting articulating the work. There is a sense of cultural artefacts of loss and resilience created from the combination of hand crafted and organic materials. MacLean’s handling of found materials, instinctive care and devotional reverence convey very powerfully emotional loss but also the strength of a timeless living tradition, reimagining the world. This is also invoked in Maclean’s Rudder Guardians (1999, Mixed Media), totemic figures in a progression of black, red, blue/green and white, guardians of the soul’s journey through and beyond this life, figures of protection aligned with the steerage of self-awareness and determination. These starkly linear, elongated sculptures and the shadows they cast on the gallery wall are Aboriginal and universal in their immediate, visceral presence. They are powerfully, symbolically present, spear-like in their inner trajectory and equally mysterious in the long shadows they cast, suggesting human drives of creative need, protection and social cohesion which universally define us as a species. At base we will always need Art and stories to make sense of ourselves; the skill of the artist is in initiating those connections so that we can remember. This shifting perception is part of the fabric of MacLean’s Art in terms of his creative process and in the act of seeing.

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Nomad Trace by Will Maclean (2011, mixed media construction, two panels, each 122 x 244 x 5cm.) Image by kind permission of Art First, London.

The artist’s imperative to explore this territory of mind can be seen and felt in Nomad Trace (2011, mixed media construction, two panels, each 122 x 244 x 5cm.) which creates a sense of an entire artic landscape in the shimmering Northern light of layered pigment and beeswax, icy blue emerging from the monumental white expanse of the diptych. The panels linked by a drawn circumference feel like interior maps. The tracery of form, drawn marks and inner framed recesses of the panels containing totemic vertebrae which emerge, dissolve and recede like melting ice into infinite white; a synthesis of Nature and a human eye and mind perceiving it. How you’re drawn into this work and the mythology of the Northern landscape creates a place of stillness within, an imaginative territory that the viewer is free to explore, led by ancient symbols of journeying between conscious and unconscious states of awareness.

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Atlantic Messengers-Hirta (1998, mixed media, 158 x 52 x 31cm) by Will Maclean. Image by kind permission of Art First, London.

One of my favourite works is the sculptural installation Atlantic Messengers- Sula Sgeir, Hirta and Fulmarus (1998, mixed media, each 158 x 52 x 31cm) which have a figurative human presence, like Classical Feminine Graces, the three Moirai  or a chorus bearing witness to the tragedy of evacuation. Containing enshrined objects of cultural acknowledgement and remembrance, cast and recast in resin, darkly framed and elevated on plinths, Maclean’s “St Kilda Ladies” contain personal memories and collective associations with life, death and renewal. The cast guillemot eggs and boat forms are historically laden with narratives, a penny for the mail boat and a coin for the boatman on the final journey. To me they have always felt like guardians of an underworld of burgeoning awareness, like Inuksuk; Inuit cairns in Northern Canada- human symbols reassuring the traveler through that vast, frozen  expanse that they are on the right path. The distinctly Feminine egg forms are both solid and fluid, like weighted tears, combined with geometry of form, like buoyant instruments of navigation, enduringly upright on ever changing seas. Although the white of the central plinth creates a Christian tryptic focus, the base construction of wooden pegs, like that of an ancient bardic instrument without its strings, suggests a much older connection to the mythology of the sea and our human origins.

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Towards the Voice of the Night – by Will Maclean, No4 of a series of 12 collages and poems;  A Catechism of the Laws of Storms, in collaboration with poet John Burnside. Image by kind permission of Art First, London.

Another highlight of the exhibition is MacLean’s collaboration with the poet John Burnside, A Catechism of the Laws of Storms, which has also been published by Art First, London, in book form.  Displayed here as a series of 12 screen prints in three colours accompanied by each poem, the union of images and poetry is completely symbiotic. The starting point was a found London Times of 1880, engravings which were the raw materials for MacLean’s beautifully Surreal collages. These images were then interpreted by the poet, inspiring and creating a series of works beyond text and illustration. Song of a Storm Wave, Storm-Bird Harbinger, Towards the Voice of Night and Apparition of the Re-drowned are especially fine examples of what feels like an intimately epic song cycle. At the heart of Song of a Storm Wave there is an illuminated human presence, a palette forms the body of an instrument within a ghostly moonlit silhouette; human form composed of found text and image, meaning as fluid as the collage process, the movement of a surfacing porpoise and the rhythm of waves. The flow of creative process from image to text feels absolutely right; it’s a sublime marriage of Art and Poetry.

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Song of a Storm Wave by Will Maclean, No1 of a series of 12 collages and poems;  A Catechism of the Laws of Storms, in collaboration with poet John Burnside. Image by kind permission of Art First, London.

www.artfirst.co.uk

https://www.highlifehighland.com/inverness-museum-and-art-gallery/