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TREE AT MY WINDOW TREE AT MY WINDOW

TREE AT MY WINDOW - PowerPoint Presentation

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TREE AT MY WINDOW - PPT Presentation

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

amp wood contemporary gallery wood amp gallery contemporary print engraving impact audience editioned image edinburgh private work oil illustration

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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.