Kilmorack Winter Exhibition

29 November 2014 – March 2015

Kilmorack Gallery, By Beauly

Summit-Fever

James Newton Adams,Summit Fever

Kilmorack’s Winter Exhibition features some exciting work by established artists and those new to the gallery including; James Newton Adams, Paul Bloomer, Patricia Cain,Sam Cartman, Kirstie Cohen, Peter Davis, Helen Denerley, Henry Fraser, Leonie Gibbs, Gail Harvey, Liz Knox, Allan MacDonald, Charles MacQueen, Illona Morrice, Robert Powell and Peter White.

It’s always a pleasure to see work by Shetland based artist Paul Bloomer, particularly his larger scale paintings and woodcuts. View From My Reawick Studio (Woodcut, 65 x 77cm, 1 of 20) with its heightened Expressionistic perspective leads the eye into the composition along a curve of wire to a progression of electricity poles and a tiny cottage in the distance. A squall of marks in which sky, sea and wind are bound together in an undeniable upsurge of energy inform human scale in the image. The angular bisection of the composition creates a psychological edge in stark black and white, with the human dwelling perched precariously on a downward slope of ground. Two curlews drift above the turbulence in ascension, while another sits stationary on the pole in the foreground; at home in their environment, pitched against the gouged physicality of sky.

view-from-my-reawich-studio

Paul Bloomer,View From My Reawick Studio

Bloomer’s large scale woodcuts are the perfect combination of immediacy and deliberation; the spontaneity and intensity of the drawn mark in brilliant counterpoint with highly skilled formal design. Drawing and painting out of doors in all weathers, at the mercy of nature in the UK’s most Northerly Isles gives Bloomer’s work a unique dynamism and perspective on humanity. Charcoal drawing onto board provides the foundation for his consummate skill as a printmaker. Woodcuts demand an assured hand and mindful, hewn precision in their making, qualities which have always been present in this artist’s work; from the powerful social critiques of his Black Country figurative works to his current focus on the natural world.

Gannets-at-Noss

Paul Bloomer Gannets at Noss

His depictions of birds, particularly those in flight such as Gannets at Noss (Woodcut, 95 x 64cm, 1 of 20) or resting Yellow Warblers (Woodcut, 1 of 20, 50 x 64cm) are invested with life and light. In the former we see the aerodynamic velocity of gannets plummeting into the ocean, their design in perfect harmony with their natural drive to feed. The spiral like composition of Yellow Warblers exudes luminosity and natural order, the cyclical nature of life and vulnerability in bold silhouette. These are medium sized works compared to the expansive scope of Bloomer’s Art in Oils, Watercolour, Mixed Media and Printmaking; however their distinctive style and execution make them among the most striking works in the exhibition.

Watchhouse-Loch,-Watercolour-2011-(470x680mm)-Peter-Davis

Peter Davis Watch House Loch

Another Shetland based artist Peter Davis demonstrates his adeptness with watercolour, creating contemplative images with enviable economy. In Watch House Loch (Watercolour, 47 x 68cm) a basin like field of washes bled into progressive depths of ultramarine create a sense of emotional depth. The stillness of sky, water and reflective cloud in Davis’s lyrical image Smalla Waters at Dusk (Watercolour, 47 x 68cm) is a highlight in a suite of paintings by the artist which extend into abstraction. The most convincing of these are bridges between representation and abstraction, where the artist’s command of the medium is finely balanced in calculated fluidity. The suspension of pigment gives these works delicacy, revealing distinct qualities of light found only in the far Northern landscape.

a-dense-accumulation

Allan MacDonald,   A Dense Accumulation

Allan MacDonald has contributed some truly celebratory works to the exhibition. A Dense Accumulation (Oil on Board, 50 x 60cm) is a work of beauty with life in every mark. It’s a joyful celebration of nature in full bloom reaching towards an affirmation of blue sky. This quality is also present in Storm Cloud, Wheatfield, Oil on Board 25 x 30cm) where a thick impasto field is aglow and the threat of storm clouds are subtly contrasted with the brightness of blue above. The paint handling is fully invested in the subject, reinterpreting the landscape and our place within it. Sound of Many Waters (Oil on Board, 17 x 61cm) is another beautifully realised marriage of colour, texture and gestural mark; the rough edges of the board complementing the yellow of unfurling waves, deep oceanic greens and steadfast purple headland. Calm water, tide and ocean swell meet in a single evasive moment captured by MacDonald’s intuitive response to his environment and masterly paint handling.

Charles MacQueen’s work celebrates intense associations of colour, form and place. Pool Essaouira ( Mixed Media, 71 x 73cm) is a symphony of blue where overlapping fields of colour create depth in a supremely balanced composition of form and feeling. Heat Marrakech (Mixed Media, 102 x 76cm) is a furnace of orange and red, while Heat (Mixed Media, 70 x 60cm) contrasts the cool interior arch of the doorway with the glow of incandescent cadmium red. We rest in a space between shadow and light in MacQueen’s evocation of place and memory.

obje-trouv-for-edin

Liz Knox, Object Troves

A new addition to the gallery’s established artists is Liz Knox, whose best oil paintings are an intuitive rather than literal interpretation of the Northern Scottish coastline. Although the high octane palette sits on a formulaic edge, her nuanced paint handling is extremely sensitive and demonstrates great promise. Object Troves (Oil on Canvas, 71 x 102cm) is a good example, with the under painting emerging from shifting sands and receding tide. Within this fluid environment we see reliquaries of memory; gathered shells, a shoe and a bucket and spade presented in precious alcoves of sand and remembrance.

Near-Rispond-Sutherland

Liz Knox, Near Rispond, Sutherland

Near Rispond, Sutherland (Oil on Canvas, 71 x 102cm.) with its expanse of beach, depth of colour and emergent light on the horizon also presents an interpretative space rather than a pictorial scene. The rocks in the foreground feel like a mountainous microcosm of Sutherland, heightened by wedged accents of brilliant red. The curvature of a tide like stain in the lower right hand corner reveals the ebb and flow of the artist’s own rhythm and way of seeing; a distinctive voice which becomes somewhat lost in a work like Helmsdale Masts where the handling and palette are too uniform. What separates and elevates exponents of landscape painting in the UK is the artist’s ability to mindfully inhabit the landscape rather than simply look at it. Whatever the style may be if the artist is invested in such a way then inevitably the audience will feel it.

The-Milk-Round---76x76cm

James Newton Adams, The Milk Round

In Summit Fever James Newton Adams’ Summit Fever (Acrylic on Board, 76 x 76cm) the frozen ground is flattened into a promontory that extends into the icy blue sea beyond. With an economy of mark the artist portrays the human state of activity in each tiny figure, a quality which extends to a rare interior scene Highland Wedding (Acrylic on Card, 76 x 101cm). There is humour and pathos as we enter the austere expanse of a hall populated with tiny figures at a wedding reception, each one expressive of their own inner state. The naïve style is immediate and the perspective emotive. The Milk Round (Acrylic on Card, 76 x 76cm) is another fine example where the winding street of a seaside village dwarfs the lone figure bent double like the warning of an “aged” street sign, carrying home a dead weight of loneliness in a bag of shopping. The isolation of the human being is present in all of these works, but there is also life and humour in the artist’s keen observation. Although reminiscent of Lowry, these latest works are very much branded by Adams’ unique vision of humanity and the psychological territory of Northern Scotland. Until the daffodils begin to appear Kilmorack is a great place to fill the winter months with colour, light and insight.

All images by kind permission of Kilmorack Gallery.

www.kilmorackgallery.co.uk

Eight Sculptors & Their Drawings

Eight Sculptors and their Drawings

15th August to 13th September , Kilmorack Gallery, by Beauly.

It is always exciting to see an exhibition that expands your ideas about what a medium can be. Eight Sculptors and their Drawings featuring work by Mary Bourne, Helen Denerley, Steve Dilworth, Leonie Gibbs, Lotte Glob, Gerald Laing, Will Maclean and George Wylie combines the immediacy of an artist’s first response with the permanence, distillation, monumentality and intimacy of multidimensional sculptural objects. The best works in the show move beyond sculpture/ the Art object and are very much about the living, creative act of making and experiencing work in more than three dimensions.

etchingLotte Glob’s etching “Walking the Faroese Cliffs” (Above) with its shaded chasms and figurative rock formations jutting into the sky feels like a timeless, primordial landscape. The strength of her drawings is consistent with her approach to ceramic sculpture; a fusion of elements drawn directly from the landscape, forged by water, earth, fire and air. “Walking the Faroese Cliffs” conveys the artist’s essential relationship with the landscape, the living skin of the earth and the knowing of countless generations. A suite of pastel and charcoal drawings; “Rocks Watching You”, “Boulder Land”, “Rocks Never Lie” and “Meeting on a Hillside” are infused with tremendous strength and vibrant energy. It is a joy to see the assured hand and unique vision of the artist resoundingly present in both her drawings and sculptural work. Glob’s fused books, created from raw elements from the land and ceramic are sealed shut from the eye but ever expansive in the imagination. “Book of the Bog People” is a particularly fine example which feels as though it has been excavated from the earth, encased in sediment millennia deep,tapping into a seam of collective memory. “Geologist’s Diary” evokes an entire landscape is its molten form of fused stones, mountains and lochs. Glob’s work powerfully communicates the multidimensional experience of being in the landscape; physically, spiritually, intellectually and emotionally, rather than merely seeing, owning or inhabiting it. Her work is a potent reminder of the power of natural forces and of human creativity as a source of connection and renewal.

Geologists-diary

Lotte Glob Geologist’s Diary(Mixed Media)

Steve Dilworth’s “Beaked Bird” (Bronze ed 2 of 5) is a beautifully balanced and poised structure of interlocking forms, both masculine and feminine. It is a seamless and sensual work, pivoting on ambiguity, the hollows and contours of form evocative of a seed or stage of evolution of some as yet undiscovered species. Dilworth transforms our conception of sculpture as an object with the act of making and seeing a transformative process. This can be sensed and felt in “Swift” (Harris Stone and Swift) an exquisitely crafted hand held sculptural object, mask and bird like in form and powerfully ritualistic in its centre of gravity. Hollows on the underside connect with your fingers, it is an object meant to be held with the weight at its core bound to the centre of the viewer/participant like a divining rod. The rhythmic asymmetry of its design and sweeping incised central curve are supremely elegant, engaging with flight of the imagination. The intimate scale of the object is monumental in its associations. It is birth, death and becoming in a single object, with the inner and outer forms of equal value and importance. The energies and origins of the artist’s chosen materials drawn from the landscape are held within.  It is wonderful to see the immediacy of the artist’s sketches nearby and the distillation of form and ideas realised in bronze and stone.

During an interview in 2006 when I asked what drew him initially to sculpture he replied; “I’m an atheist and an anti-theist. Art has replaced all of that spiritual side. So what it is to me is to try to make some sort of sense of what is a nonsensical place- of what we are. It is just exploring that and trying to understand. I don’t really see it as sculpture parse, but as objects and that’s what I make…For me the fantastic thing about making objects is that you’re making real things, they’re not about something, they’re not pretending to be something else, they are actually what they are- what it is in its entirety, whether you can see it or not.”

Beaked Bird

Steve Dilworth Beaked Bird (Bronze ed 2 of 5)

swift

Steve Dilworth Swift (Harris Stone and Swift)

A subtle and insightful artist, Mary Bourne’s “Many Moons” (Granite) are a moving sequence of form and light in gently contouring granite. The tonal exposure of light in carving the stone is part of this dynamic, each lunar phase providing a moment of contemplation and transition. “One Loch Two Days” (Granite) presents oblong bodies of water with the emotional weight of the choppy, turbulent surface of one and the smoothed calm of the other. These gestural marks in stone are mirrored in Bourne’s calligraphic ink drawings “Wood on Coreen Hills 1 & 2” which are striking in their simplicity and grace. Bourne conveys the movement of timeless elements with enviable economy.

Well known for her ingenious wildlife sculptures in scrap metal, drawing is an integral part of Helen Denerley’s practice. “Two Cows”, “Knee Study”, “Harris Hawk” (Charcoal) and “Female Nude” (Ink on paper) reveal her keen observation of line and form. In “Female Nude” Denerley reduces the figure to a few essential lines, communicating the attitude, character and physicality of the figure stripped back to its essential energetic core. It is a quality often to be found in her animal sculptures, which are fleshed out by the viewer led by line and small, finely tuned details that animate the structure. Rather than a solid body there is a space for the viewer to dive into, fuelled by the spirit and movement of the animal.

Like many of his box constructions Will Maclean’s “Barents Box” (Mixed Media) is a cabinet of human memory and inward navigation, composed of found objects many layers deep. Discarded materials and objects are enshrined and revealed in all their tactile beauty.  “Transom” (Mixed media) with fragments and objects embedded in the distressed surface of wood worn by time, human hands and the sea, is almost figurative in its three part structure; appearing like a standing figure with outstretched arms or wings. The white paint of the Plimsoll line anchors the object above and below, while the concave hollow at the centre feels like a space for the mind to dwell. “Black Vessel Foundering” (Mixed Media) simultaneously emerging out of and sinking into a heavy, black rectangular base is a vessel pared down and skeletal in form, with doll like torso’s embedded in the cross sections. It is a psychologically tense piece of work, anchored to a dark space of the viewer’s own imagining. Maclean’s expansively spartan drawing “Chief Officer’s Log” (Mixed Media) suspended on a ground of white, contains a fragment of history embedded in the surface of the drawing and  a trajectory of written text across the viewer’s horizon line. The circular focal point and outline of a submarine plumb depths of pure white.

Transom

Will Maclean Transom (Mixed Media)

Black-Vessel-foutdering

Will Maclean Black Vessel Foundering (Mixed Media)

Gerald Laing’s witty pencil on paper drawing “One more cup of coffee for I go” with just the legs and elegantly heeled feet of the female guest visible, pares down drawn lines to lead the viewer to a space beyond the page where we are free to imagine the sitter. “Studies for Dreaming” (Pencil drawing on paper) reveal Laing’s observant eye, distilled beautifully into the angular geometry of Galina VIII (Bronze, ed 4 of 10). “Hijacker”(1978, Bronze ed 5 of 10) is another intriguing work, both as an image of femininity and a reference to the militant Baader Meinhof group. “Twentieth Century Monument” (Bronze and Stainless Steel) feels like a mausoleum for Western Culture in its fusion of traditional bronze and industrial stainless steel.

Eight Sculptors and their Drawings is an exciting celebration of some of the country’s finest artists, each with their unique insights, energy and process. Far from the image of an elevated remote object on a plinth this show resoundingly presents a living art form of multiple dimensions.

All images by kind permission of Kilmorack Gallery www.kilmorackgallery.co.uk