paintings drawings amp wood engravings SEPTEMBER 2011 Solo exhibition of forty works at the Open Eye Gallery Edinburgh with an audience of approximately 25 visitors per day following ID: 274899
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Slide1
TREE AT MY WINDOWpaintings drawings & wood engravings SEPTEMBER 2011
Solo exhibition
of forty
works
at the Open Eye Gallery,
Edinburgh,
with an
audience
of approximately 25 visitors per day, following
a gathering of
200 at the Private View
. The gallery deals in
contemporary fine and applied arts
by UK
and international
artists. It represents lesser known and leading figures. Various contemporary
Scottish
artists exhibit; for example, Professor
Ian Howard, Professor Jake
Harvey, John Byrne, and
Alan Davie.
The gallery also
specializes
in late 19
th
&
20
th
Century printmaking, with
works by Picasso
, Vuillard, Bonnard,
Matisse,
Burra
, Hodgkin, Leger,
Hockney
,
Paolozzi
,
Frink
, amongst other modern
masters and lesser known printmakers. Earlier examples, such as Rembrandt etchings, are also shown. The gallery’s
mailing list is added to that
of
exhibiting artists,
with a wide scope
in
academic, social
and cultural circles. The gallery is situated
in Edinburgh’s New Town,
adjacent
to
Bourne Fine
Art, other galleries such as Anthony
Woodd
,
and the Scottish Gallery.
It is close
to the permanent collections in the National Portrait Gallery and Royal Scottish Academy. Slide2
Pastoral
, oil on wood, 300mm x 400mm, (private collection) One of a series of landscape & still life compositions.
The ash wood-panel
has been
prepared with rabbit skin size &
gesso, prior to laying down thin layers of pigment.
Such paintings form
a
complement
to other work
printmaking and illustration.
These
embrace themes of abstraction and constructivism, with evocations of the natural world, architectural structures,
and visions of landscape. Since graduation
in 1978 I have regularly exhibited drawings and paintings in Edinburgh and London. What can be
learned or has impact
from
these events
is that the
work as a whole
forms a synthesis of fine and applied art within
British and international
modernist traditions. In pieces such as
Pastora
l,
and in the next slide,
Nightingale
, there are connections to lyrical
abstraction, probably
influenced by the New York School,
Vorticism
and the St Ives School
, for example, as well as
post-
painterley
abstraction and contemporary approaches to
easel painting. In the graphic
work
,
imagery
embraces
various traditions from Calvert,
Bewick
and Palmer
, followed by connections to the
British etchers and engravers
at work
between the two World Wars
,
Burra
, Hitchens and Sutherland, for example, and to contemporary
practice in
painting, printmaking & illustration in
the digital age. Slide3
Nightingale
, Editioned print, 1/50, wood engraving 160 x 100mm
This
image forms
part of a commissioned brief to illustrate an essay on Birdsong for the BBC Wildlife
magazine in 2010. Mark
Cocker’s text
describes
myths and legends pertaining to birdsong, as well
as giving ornithological information and
natural
history.
The illustration
covers
a double-page spread, and included a thrush, cuckoo, lark and nightingale, with a quotation from John Clare’s poem.
The
engraving is
taken from
two of a total of eight woodblocks used for the illustration.
This print will be shown in London, January 2013, with the Curwen Gallery.
In terms of impact and audience, BBC Wildlife Magazine has wide readership with a UK & overseas circulation of 40815 copies.
Slide4
Back
to Earth, editioned
wood engraving, 130mm x 95mm, 1/50, printed on
Arakaji
Natural, Japanese paper.
Image commissioned by Baillie Gifford, Edinburgh, for a financial conference in Edinburgh.Slide5
Water Course
,
oil on wood, 300mm x 400mm (Private collection)
Ash wood panel has been prepared with rabbit skin size & gesso
One of a series of landscape paintings, seen
alongside
other studio works
.
Come In
, wood engraving, 80mm x 100 mm,
editioned
print (1/50)
C
ommissioned as one of twenty three illustrations for the Collected Poems of Robert Frost, Folio Society, London, 2010 Slide6
Collected Poems of Robert Frost: Wood engraved pattern
This image forms the cover design for the book.In terms of impact and audience, the 2010 Folio Society imprint of the Collected Poems of Robert Frost had a print run of 6000, UK and overseas.
What is learned from this presentation is the manner in which a contemporary
aritst
makes a visual interpretation of poetry, for the purposes of publishing a book.
. Slide7
I
said, you said, oil on canvas on board, 260mm x 340mm, (private collection)
Canvas surface has been prepared with PVA under-glue, and oil painting
primer, with thicker application of pigment, scraped and re-painted in many layers. Impact/audience is referred to in the first slide. Slide8
DART
, editioned print, wood engraving 1/50 , 140mm x 100mmImage engraved onto a holly wood-block. An encapsulation of the life of a river, with currents, flora & fauna, the moon & tides.
This
was one of four illustrations commissioned
by Miriam
Rosenbloom
, Faber & Faber, as cover art for Dart, poems by Alice
Oswald
Its audience/impact is for a large print-run of
Dart
, 2000, as one of several re-issued poetry books: Simon
Armitage
, Wendy Cope, Philip Larkin, Sylvia Plath, Ted Hughes, which have been illustrated by contemporary printmaker-illustrators.