Galleries Galore (Part 2 Aug - Sept)

Now into August I noticed this artist's exhibition on Instagram - DRAWN TO at Birnam Arts Centre by Alison Price.

Never having visited the centre before I was welcomed by a lovely outdoor café courtyard, a light and bright interior and a great shop. The exhibition space is up the stairs and flooded with light from the huge windows and views of the gardens.

Price’s work is full of expressive mark making inspired by our Scottish landscape who “believes that the action of drawing has a way of making you notice what you notice”.

Her work is very much in the moment and I can sense a real feeling of movement - particularly in the seascapes. The curation of the exhibition is beautiful - displaying her concertina sketchbooks against a backdrop of natural greenery. Seeing the very rough initial marks on pieces of paper and in sketchbooks displayed alongside finished work really created a sense of being transported to the locations - either in the woods or at the sea and there was a real connection with the artist. I left feeling refreshingly inspired and wanted to visit the seaside and walk in the forest.

A scorcher of a day later in August took me to one of my favourite places - the inspirational Hospitalfield House in Arbroath. The beautiful setting comprises of a historic house, fernery, sensory garden and is a contemporary arts centre for artists residencies, study and workshops.

There were two outdoor artists’ works. In the centre of the garden was the late Eduardo Paolozzi’s Rio – a grey industrial looking random combination of mechanical objects which reminded me of a crazy scientist’s home-made gadget. I could almost hear the whirring, bubbling and mechanical noises if it was activated. Set against the natural sensory garden the man-made work was a real contrast and the grey surfaces which were actually bronze changed colour with the sunlight allowing it to blend more with the surroundings giving it a less clinical feel.

The work I was there specifically to see was Emma Hart’s BIG TIME - four cheerful sundial sculptures full of cheekiness. Hart explores time, space and colour – all key factors in my own practice. The name of each sculpture has a clever time connotation – No time, Out of time, Nice time and borrowed time. Hart’s work echoes my own practice in many ways with her colour and playfulness and how the work evokes joy and fun. I often look to Hart’s work for inspiration.

A lot of visits were made to see work in August and I couldn’t leave out The Edinburgh Art Festival. I took in the festival atmosphere by walking up the Royal Mile first then down Cockburn St. to Stills Gallery for Marketa Luskacov’s exhibition.

I wanted to see a complete variety of work and I had noticed this in the EAF brochure. The work consisted of a series of B/W candid photographs mainly of people. I really loved the innocence of the children and how nothing was set up or posed for and all the photos were captured in the moment. My preference was the images of children that just showed them being children and all their mischievous faces. This image was my absolute favourite and reminded me of doing the very same thing.

Next stop was The City Arts centre and Peter Howson’s When the Apple Ripens: Peter Howson at 65. This very detailed and mainly figurative work is not the type of work I am drawn to, but I can appreciate the talent, workmanship and time invested and the sheer scale of the work was so impressive. In his dark sombre palette and subject matter I can really feel his torment and angst and the challenges he has endured through a large part of his life. I enjoyed the self-narrated video as it gave a real insight into the artist and how he used art as a way to express his difficulties. Howson is superbly talented nonetheless but I enjoy work that brightens my day and exudes positivity and I left feeling slightly edgy.

Directly opposite the City Arts Centre is The Fruitmarket Gallery and again I had noted Leonor Antunes ‘s exhibition in the EAF brochure -The apparent length of a floor area. Interesting title for a start. Despite the initial simplicity there are a lot of references in her work. The floor caught my eye (maybe due to the title?) which was laid in cork and specifically design by the artist with inspiration from architects and designers from 1930’s. The skilful crafting of the wood structure and how the objects and material connect with each other are all precisely arranged and nothing here is random – reflecting her references to architecture and design. On another floor was a series of hanging knotted cords which looked like they were referencing a traditional technique. Throughout the work is mainly an earthy calming palette and then a black and white chequered hanging object draws attention in the middle which seemed out of place with the other materials.

After visiting the shop in The Fruitmarket Gallery and of course a purchase, it was a slow walk along Princes St. to the National Gallery to the acclaimed Grayson Perry’s Smash Hits. I was packing a lot into my day and was beginning to flag a little but I was soon to be pleasantly revived! I didn’t know much of Perry’s work other than it was all a little eccentric.

I was unaware of how colourful his work is and the amount of detail and references in the stories he tells in the huge tapestries. The motorbike was brilliantly over the top and I learned a lot more about his struggles, his teddy and inspiration (Alan Measles) and how he tackles political subjects with irony and humour. There was a lot going on in every single work and I don’t think I absorbed even half of it. Loved it!

Back again to DJCAD to see the Fine art master’s degree show. The first work I encountered was Susie Rose Dalton’s body of work Reasonable wear and tear. Having worked in a contemporary dance company, I have a passion for dance and movement and immediately I was drawn to the lines appearing on the wall which were captured as the artist danced while wearing a motion sensor.

Rather than focus on the figure, Dalton has documented the patterns of her movement which really brings her work to life and is full of expression. Mirrored disco balls always make me smile as they suggest a fun party atmosphere. I loved all the letters and words on it, which could be seen when the light reflected on the ball and documents everything the artist thought about while dancing – which is the title of the work.

Photo courtesy of https://www.dundee.ac.uk/masters-showcase/2023/susie-rose-dalton

Francesca Tata’s exhibition focused on the past and present. I was drawn to two TV monitors and a welcome seat on a beanbag. There is so much walking when viewing degree shows! Showing simultaneously was one screen with a video of the artist professionally ice skating as a young child beside a current video of the artist. Competing at a high level at a young age would come with huge pressure on body image and the need for perfection and perhaps the contrast with the present was to show the artist now able to take control of her own career? I recognised needle threading tools and the orderly positioning of many in rows on string – maybe another reference to an early ice skating military training regime or perhaps to the family knitwear factory. I liked the way they all shimmered and fluttered as I walked past.

I particularly liked the metalwork shapes and how they were positioned on a glass table structure. With the sunlight coming through the window in the large bright open space it created patterns and beautiful cast shadows on the floor.

Neil McCulloch’s body of work ALMOST ALWAYS was more challenging to interpret although I was curious to find out more. The work featured video footage and large plaster sculptures that referenced thoughts in a tangible form through experiencing psychosis. Never having experienced these feelings I found this difficult to comprehend but I could feel the sense of trauma with the dismembered feet and hands and the faceless patient wearing a hospital robe. The artist reflected on personal experience which resulted in revealing and emotionally charged work. A sensitive and big subject to tackle, although the artist cleverly included humour in the work with W.M.D (Walking My Dog) a missile with dog ears and chain leash - a reference to a friend who thought their dog had become a weapon of mass destruction.