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Tommy Fitchet @ Saorsa Gallery: 365 landscape paintings on a small scale = a stunning show of mini masterpieces

 “ I have found that my art is most fluid and expressive when working directly onto glass. When the sun suddenly comes out and shines brightly upon the sea or the land just for that brief moment –  that is what I am trying to capture in my paintings.”   Tommy Fitchet

Tommy Fitchet is a self taught artist whose most original and creative artwork showcases distinctive, abstract modern ‘stained glass’ paintings, inspired by the Scottish landscape from the city to the seashore as observed through the seasons.

Sunset over Arran, Tommy Fitchet

Following the success of his previous exhibition, 100/100, which raised over £5,500 for Cancer Research, he decided to challenge himself to paint a small scale landscape each day for a year, starting in September 2016.

The result is this new show, 365, at Saorsa Gallery, Stockbridge, Edinburgh, where all the walls are hung, virtually floor to ceiling, with a collection of 365 wonderful wee paintings: each measures 22 x 22 cms in smart wooden frames. Again, all these paintings are sold in aid of charity.

The theme embraces Tommy’s journeys around Scotland, in particular the wild natural beauty of sandy beaches, peaceful farmland and high mountain peaks of the Isle of Arran.

The effect of oil on glass creates a gleaming, glossy layer with a rich, deep sense of colour and soft, shimmering shades of light to reflect marvellous images of sun and sea.  These are stunning abstract land and seascapes through a swirl of bright blues, purple haze, sunset orange, grass green fields and forest of trees.

Fitchet brilliantly represents a real sense of place with thick brushstrokes and curving lines, the illusion of wide skies wild waves and undulating shoreline within a precisely patterned patchwork.

Here and there around the gallery are a few more naturalistic scenes where you can clearly see a line of rolling mauve-tinted heather hills, craggy coastline and pink streak of clouds.

Some of the most dramatic paintings are those created in stylised geometric blocks of black, grey and white with splashes of gold.

With a dark, intense mood, you can almost depict the icy chill of white snow and dark black rock in stormy winter weather in these impressionistic compositions.

With his palette of oils, from rainbow colours to crisp cool monochrome, the viewer will feel an extraordinary energy and atmosphere of the outdoor air, so well captured in these mini masterpieces.

For the buyer, what is most enticing is the fact that Tommy Fitchet does not create prints of his work so each and every painting is a unique and original work of art.

The paintings on show at this exhibition are available to purchase at a most reasonable £100 each. Most importantly, 50% of the sale price will be donated  to two charities, Cancer Research and CHAS (Children’s Hospices Across Scotland).

365 – this exhibition runs from 7 – 24th September, 2017.  Thursday to Sunday, 12 noon – 5pm.

SAORSA, 8 Deanhaugh Street, Edinburgh EH4 1LY.  Tel. 0131 343 1126

http://www.saorsa-art.com

 

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Paperworks 4 – Marion Barron, Trevor Davies and Ruth Thomas – the beauty of nature with painterly precision

During the Edinburgh Festival Fringe 2015, I was delighted to see an exhibition by the Working Lines Collective entitled Paperwork 2 at the Ski Club, Howe Street.  As I wrote in my 5 star review on Edinburgh Guide:

“This is an enchanting selection of dream-like landscapes, figurative work, still life studies and colourful abstracts. It’s like taking a journey through time and place. 

Paperwork 2 is an evocative, inspirational collection of diverse yet complementary work, the nuances of shade, line, pattern and composition all pleasing to the eye, as you wander from room to room”.

This year for ten days in August, the Working Lines Collective was back with Paperwork 4, featuring Trevor Davies, Marion Barron and Ruth Thomas, who met and studied at Edinburgh College of Art.

While their Festival Fringe 2017 exhibition is now over, this is an illustrated feature to promote their creatively-crafted Paperworks.

Inspired by contemporary urban landscape, Marin Barron studies the concept of the structure and fabric of buildings:  “My recent research has focussed on the aesthetic of post war Brutalist buildings.  I explore pattern, form, colour, line and space, the environmental and social aspects, although the visual aspects are of greater interest to me”.

Marion paints in oil on linen, canvas or paper, slowly developing the surface for a strong depth in colour, tone and texture, such as here in “Fold”.

Fold, Marion Barron

These vibrant colours are most effective, drawing the eye in to study the graceful geometric line and shape. With its backdrop in soft cream and grey, the simple yet bold columns of crimson and coral in “Structure” is also a striking, architecturally-defined image.

Structure, Marion Barron

Trevor Davies is a master of delicate still life drawings, impressionistic landscapes as well as fine figurative sketches.  Heading in a more abstract direction is a series of minimalist landscapes such as Duddingston Loch(1).  This comprises a strip of newspaper column, the Lonely Hearts page with tiny requests starting with four letters, WLTM: a whimsical, richly textured work.

Duddingston Loch 1, Trevor Davies

Twenty-Two is also an amazing combination of watercolour, muslin, oil, graphite and newspaper on paper.  In similar mode to the artist Philip Reeves, these collages involve a process of distilling the theme down to the materials, then re-building the image as a layered construct.

In his quietly composed Still Lifes, meticulous representations of cool circles and curved bowls conjure up the pure contours in the natural world: ‘The endless line of a circle, its internal space both enclosure and entrance,  and what might be joints or doorways within a landscape all find their way into my pictures’

Galileo’s Moons, Trevor Davies

Ruth Thomas is an Australian artist who, having studied in Edinburgh, is fascinated by the coastlines of Scotland and New South Wales, “Nature’s calligraphy: the myriad of lines on windswept beaches, the richly coloured rock faces, the delicate structures of shells and seaweed.”

Oyster Bed, Ruth Thomas, (drawing)

Her work covers painting, printmaking and drawings in which the decorative detail shows her passion for geology as much as art, capturing how the waves of the tide smooth the pebbles on the shore.

Reworked, Ruth Thomas
(painting)

Ruth also enjoys the ancient Art of Mokuhanga, Japanese Woodblock Printing to create concertina fold-out books of miniature paintings.  She also makes eco-printed paper from fragrant Eucalyptus, Banksia and Grevillea leaves.

These three distinctive artists offer a diverse selection of prints, drawings, sketches and paintings yet complement each other, – sharing a broad theme of the environment with an individual artistic approach.  At previous Festival exhibitions, comments in the visitors’ book are most enthusiastic: ‘such varied and beautiful work’ & ‘I loved the delicacy and the thoughtfulness.’

Once again, Paperworks 4 was a most inspiring and evocative collection to express the beauty of nature with fine crafted imagery and painterly precision.

Make a date in the diary for Paperworks 5  – hopefully it will return for the Festival 2018!

For more information:

https://www.facebook.com/artistmarion/

http://trevor-davies.net/

http://ruththomasart.co.uk/about/

 

Land and Sea: Paintings and Poems by Anne Butler & Sue Mayfield, Dundas Street Gallery, Edinburgh

This enchanting exhibition at the Dundas Street Gallery is a marvellous collaboration between the artist Anne Butler and the writer Sue Mayfield, to capture the scenic beauty of our natural world.

“Tread softly on the shore,  step lightly at the margins,

where the sky is thin and land meets sea,

and heaven touches earth”.  

from Tread Softly on the Shore, Sue Mayfield

Anne Butler studied at Leith School of Art, Edinburgh and now lives and works in Dumfries and Galloway.  She describes her work as a free and loose style responding to the Scottish landscape, weather and seasons. “Colour is very important to me. I think colour can change moods.  I paint in acrylic, building up layers and scraping back to reveal the colours beneath”.

Sue Mayfield  is a writer of many talents, publishing award winning fiction and non fiction for children and adults.   Her most recent books are Under the Sea (2012) and Hill of the Angels (2016). Around the gallery is a series of lyrical  poetry to reflect the dramatic mood of Anne’s paintings.

Walk with Me across the Fields, Anne Butler

Colour is clearly the dominant aspect of Anne’s vibrant green and blue land and seascapes.  Country fields are created like a patchwork quilt with bold abstract cubist style blocks, representing yellow summer corn, verdant green grasses and russet red leaves of Autumn.

“Full Moon over Blue” is a marvellous scene, reminiscent of Joan Eardley’s “Catterline in Winter” – pale moon, snow and clifftop cottages.

What the viewer will appreciate so much is how these dreamlike illustrations of land and sea are evoked with such emotion through the power of the written word.

Most impressive are the wild energetic waves and splashing spray of the sea in “Taste the Salt Drench,” as described beautifully in Sue’s poem, “A Thousand Thousand Tears.”

Taste the Salt Drench, Anne Butler

To cross the ocean,  face the deep….

Taste the salt drench of a thousand thousand tears.

from A Thousand Thousand Tears, Sue Mayfield

There is a recurring theme of time,  memories, ghosts of the past, reflected in an underlying narrative about fishermen, ships which pass in the night, the flow of the seasons, Spring flowers to migrating geese.

Out of the Blue, Anne Butler

While Anne paints the grey expanse of skies, stormy seas, boats and birds, Sue captures each vivid view in verse:

Out of the blue … a man emerges bearing fish,

a wish, a skylark sings, a heron uncrumples sailcloth wings.

from Out of the Blue, Sue Mayfield

There is such poignancy in her perfectly crafted phrases, richly reminiscent of the short, sharp poetic style of Sylvia Plath observing rural life, tulips and honey bees in her Devon garden.

These paintings and poetry create an artistic and literary dialogue, where images of moorland, meadows, sandy beach and ocean waves are echoed both in colour on the canvas and words on the page.

The Dundas Street Gallery,

6 Dundas Street, Edinburgh

2 – 7 September 2017 – daily, 10am – 6pm.

for more information:

www.annebutlerart.com

http://www.suemayfield.co.uk  

In the Dreaming, Anne Butler

 

 

 

 

 

 

An Edinburgh Festival exhibition by Joan Gillespie @ Grilli Gallery, 29 July to 16 August, 2017

Calling all art lovers. Exciting news for summer 2017 with the re-opening of the former Edinburgh Gallery.  After a few years away, Catherine Grilli is back “home” at her new, beautifully decorated Grilli Gallery, Dundas Street.

Grilli Gallery

For the first of two exhibitions for the Edinburgh Festival, there’s a marvellous solo showcase of paintings by Joan Gillespie. Her artistic training at college started in fine style, being fortunate to study under Alberto Morrocco and also with Sir Robin Philippson.  Developing her career, she became inspired by both the Expressionist tradition of The Scottish Colourists and the modern masters of Fauvism – Derain, Matisse and Cezanne.

Landscape, Andre Derain, 1907

The Fauves (“wild beasts”), a revolutionary group of French painters were influenced by Van Gogh and Gauguin, to experiment further with the use of intense colour to describe light and space without having to be true to the natural world.   “When I put a green, it it not grass. When I put a blue, it is not the sky.” Henri Matisse

The diversity of Gillespie’s work is quite extraordinary. Walk around this light-filled, L- shaped gallery to see an enchanting collection of Portraits, Figurative works, Landscapes and Still Life.

Window Seat, Joan Gillespie

Here are fresh-faced portraits defining the essence of feminine grace and beauty.  For example, “Window Seat”  captures the cool, calm pose of a young woman through the simplicity of  quick, broad brushstrokes with just a couple of lines to depict her expressive eyes and thoughtful mood.  Akin to a fashion designer drawing a quick sketch, this is enhanced to bring a sense of realism and depth of emotion.

As a homage to Derain and Matisse, this demonstrates her own individual, bold, vibrant approach to colour, both in palette choice and wild, carefree application; spot the splashes of blue and green on her face and dress, to echo the scenic seascape.   Despite the vibrancy of tone and texture, this is a most evocative, quiet composition.

These simple, subtle and serene figurative studies are a visual delight, such as Model in Navy Blue and Night Window and Model in Stripes, each lost in their own thoughts and solitude.

Model in a blue dress, Joan Gillespie

“What I dream of is an art of balance, of purity and serenity ..”  Henri Matisse

Seated young girl, Henri Matisse

Gillespie develops her own manner and interpretation of the female form with a sensual series of nudes to create delicately intimate scenes which are so expressive in just a brief moment in time – a girl drying herself after a bath, another taking off her blue shirt. Bold, thick lines give clarity to body shape, limbs and flowing hair with a vivid sense of movement and life.

Bather at the Window, Joan Gillespie

A sensual series of nudes create delicately intimate scenes which are so expressive, interpreting a brief moment in time – a girl drying herself after a bath, another taking off her blue shirt. Bold, thick lines give clarity to body shape, limbs and flowing hair with a vivid sense of movement and life.

Female Figure Undressing, Joan Gillespie

Here too around the gallery walls, breathe in the fragrant scent wafting around from the vases of gorgeous Sunflowers, slender Tulips, vivacious Irises and sweet Roses.  No wonder people love to collect still life paintings such as these joyous images, to bring warmth and the natural world into our homes all year round.

Tulips in a blue jug, Joan Gillespie

 “There are always flowers for those who want to see them.” Henri Matisse

Joan Gillespie, like so many artists across the generations,  is drawn to explore the South of France with her paintbrushes and sketchbook, to experience the heat and light along the Cote d’Azur in reality and on canvas.

Mediterranean View, Joan Gillespie

Like a richly illustrated travel brochure, be enticed by her luscious landscapes which layer white sand beaches and the ultramarine blue of the Mediterranean Sea, under the dazzling warmth of the summer sun.

Do visit the Grilli Gallery soon to view this exuberant and alluring showcase which will certainly brighten your day.. or indeed your home, if you decide to purchase one of these paintings.  Joan Gillespie is a most refreshingly imaginative artist who has clearly followed her own private, painterly journey,  enriched by Fauvism philosophy:

 “We were intoxicated with colour, with words that speak of colour, and with the sun that makes colours live.” Andre Derain

The Grilli Gallery

Festival Solo Exhibition by Joan Gillespie

29 July to 16 August, 2017

20a Dundas Street, Edinburgh EH3 6HZ  tel. 0131 261 4624

http://www.art-grilli.co.uk

 

Woman in a Chemise, Andre Derain

“Think Less, Feel More” by Alice Boyle @ Howe Street Arts, Edinburgh Festival Fringe

After a very successful exhibition last year on the Edinburgh Festival Fringe, Alice Boyle is back this summer with a showcase of scintillating new work at Howe Street Arts, Howe Street, Edinburgh, from 25 July to 13 August, 2017.

The title “Think Less, Feel More” is taken from a 5 star review by Waldemar Januszcak of the Abstract Expressionism exhibition last year at Royal Academy, in which he concluded:

Willem de Kooning, Pink Angels, 1945

“.. art that set out to paint the way we feel through evocation and sensation. There’s not enough emotion in our art any more. We think too much and feel too little”.

Inspired herself by the Royal Academy retrospective of Rothko, Pollock, Gorky, de Kooning, et al,  Alice has taken a new route in the mode and manner of her own abstract expressionistic paintings.

Moving away from vibrant colours to a simplified palette, this exciting new collection exudes more of a sense of free-flowing energy and spontaneity, such as “Dancing on Waves” with its powerful force of deep, surging, surfing water.

Dancing on Waves, Alice Boyle

There are also quietly subdued images such as  “Are We Nearly Home Yet,”  a delicately composed flurry of whiteness, depicting a cool, icy isolated landscape, real or imaginary, with a warming streak of bright orange.

Are We Nearly Home Yet, Alice Boyle

Quirky titles reflect the human spirit and changing complexities of contemporary life, such as “Keep Connecting”, “It will Get Easier”, “Choices.”  In similar vein is “Decisions, Decisions”, a mass of swirling circles like a cloud of confusing thoughts, the feeling when one is unable to make up one’s mind.

Decisions, Decisions, Alice Boyle

In a more celebratory mood, “Feel the Bright” is a vibrant display of what could be fireworks, with sparkling bursts of light and fire, in which you can almost hear the sound of snap, crackle, pop.

Feel the Bright, Alice Boyle

Shine Bright Like a Diamond, Alice Boyle

“Shine like a Bright Diamond”  captures the sharp-edged, multi-faceted features of the gemstone with against an abstract flurry of colour, and dribbles of white paint like a precious pearl necklace.

Alice Boyle originally studied Interior Architecture and there are subtle influences here of monochrome, diagrammatic building blocks, blended with the Bridget Riley or Missoni approach to stylistic, structured pattern.

Alice uses acrylic paint with plaster to create richly textured layers on hardboard.

This is clearly evident in a humorous painting, “Let’s believe in Magic”, where thick brushstrokes create a golden yellow brick road ….perhaps leading us merrily along, off to see the Wizard, the Wonderful Wizard of Oz.

Let’s Believe in Magic, Alice Boyle

Around the gallery, spot Boyle’s artistic trademark of crescent moons, sparkling stars, swirling circles and oval eggs, which all reflect her own interest in the power of mythology as a way to understand the human condition. birth, life and our place in the universe.  “Come Lie with Me” is a whimsical, childlike image of two round button figures, yet with an evocative sexual subtext of romantic love.

Following this theme, a most distinctive work is the visually imaginative, “Tree of Chaos”  akin to a surreal Miro-esque environment, a symbol of growth and the natural world.

Tree of Chaos, Alice Boyle

“Creativity is a wild mind and a disciplined eye” Dorothy Parker.

Boyle’s distinctively original work is both wildly creative, yet composed with an astutely detailed, decorative vision: expect to be challenged, emotionally touched and frequently amused.

As the title of the exhibition suggests, we should observe this enigmatic work without too much thought and analysis – just go with the flow, simply let the eye follow curving lines and dancing shapes without trying to find hidden depth and an absolute clarity of meaning.

Alice has let her dreams and imagination run riot and fly sky high – the viewer can only excited and exhilarated by these bold and boisterous paintings. Choreographed like a dance, you will feel a sense of spirited movement, rhythm and energy, representing a passionate love of life, joy and renewed hope – a fresh, new, sassy and sophisticated style of Abstract Expressionism for the 21st century.

“Think Less, Feel More” – Alice Boyle

Howe Street Arts, 2 Howe Street, Edinburgh EH3 6TD

25 July to 13 August, 2017 – 10am to 7pm daily.

http://www.aliceboyle.co.uk

Arshile Gorky, Water of the Flowery Mill, 1944

“New Growth”: Abstract, Conceptual and Figurative Paintings by Davy Macdonald. Dundas Street Gallery, Edinburgh

Until this point of my artistic journey I have focussed predominately on figurative painting together with landscape and still life studies. I now find my art evolving in new directions and recently have become interested in the development of abstract and conceptual art”

Davy Macdonald

With his own unique and innovative series of artistic genres, Davy Macdonald has been exhibiting in Edinburgh and London since 2009.  He has specialised in figurative works set within an historic or cultural background for his excellent Heritage Series such as Harris Tweed and Herring Lassies. These are stunning, dramatic paintings which tell the story of the women who wove the wool, against a backdrop of wild Hebridean seascapes, as well as the iconic fisherwomen at Newhaven harbour, shucking oysters and salting herring.

New Growth

This exhibition, “New Growth” is a diverse and dramatic range of Figurative, Abstract and Conceptual work, which clearly show how he has developed his style with a renewed creative spirit. His fascination with history, as illustrated with his impressive narrative paintings, is also matched by an interest in mythology and symbolism.

Three Ways North, Davy Macdonald

A new departure is venturing into abstract paintings – bold, vibrant patterns which express a freedom of movement, colour and geometric shape. “3 Ways North”  is a humorous, quirky representation of a map with the sign North, shown in three positions. Hang the picture any which way, to view the landscape of meandering roads, undulating hills, where the eye follows the compass direction upwards, right and left.

Follow Davy on an artistic journey, real or imagined. Reflecting on the political and environmental challenges which the world is now facing, “Weeping Earth” is a poignant and powerful illustration.

Weeping Earth, 2, Davy Macdonald

Picture the bleak scene: a wild sky of threatening dark clouds, a mass of grey, black and white captured in bold brushstrokes. Streaks of crimson red appear to drip like blood on to the stark, dry desert below, scorched in the heat.  Simple in structure, it packs a punch in its vibrancy and apocolyptic vision.

With his interest in Chinese art, “Jade Mine” is another striking conceptual image, reflecting the Yin and Yang theory of passive and active energy. Against the dark green of high mountain peaks, there’s the fiery glare of a red sun. Jade gemstones hold a significant place in the Chinese culture, believed to be a bridge between heaven and hell, symbolising knowledge, perfection, constancy and immortality.

Jade Mine, Davy Macdonald

Japanese cinema from the 1970s is also the subject of a few works, featuring such characters as such as Lone Wolf and Lady Snowblood.  This cult classic movie from director, Toshiya Fujita, a young woman (Meiko Kaji), trained as an assassin to seek revenge for the murders of her father and brother; the choreographed swordplay is described as visual poetry.

Macdonald has returned to his Heritage series of the Herring Lassies, evolving the theme by placing two or three young women in a less defined landscape. They stand, holding baskets of fish, gazing out at distant hills at sunrise, perhaps remembering and dreaming of their island home.

Sunrise 2, Davy Macdonald

Rather than the naturalistic setting of Newhaven harbour, this could be the Scottish Highlands, Outer Hebrides, Finland, Norway, Iceland.  These are most impressive figurative-landscapes, evocative of a freeze frame in a film, a moment in time, expressing a quiet emotional sense of nostalgia and loss.

Sunrise 1, Davy Macdonald

Around the gallery are new Portraits such as the artist’s muse, Evelyn Nesbit, the fair-skinned beauty from Tarentum, Philadelphia.

Muse, Evelyn Nesbitt, Davy Macdonald

After her father died, leaving her Scottish-Irish family in debt, Nesbit became a muse, modelling, fully clothed,for artists. In June 1900, she moved to New York City and soon, she was the most in-demand model, for portraits and fashion advertising, in Manhattan.

There are also examples of the classic Gothic Edinburgh paintings, and from the original Herring Lassies series. These are popular images with prints and originals being shipped around the world across Europe to Beijing.

“Herring Lassies” Heritage series,    “The Boat that didn’t come home” Davy Macdonald

Having known Davy Macdonald’s work for a few years, this is an inspiring and imaginative exhibition of figurative and abstract oil paintings, as well as Limited Edition Prints.  Prints are available to purchase from the ETSY shop. Each paper edition is strictly limited to 125.  Canvas prints are limited to 18 for each series.

https://www.etsy.com/uk/shop/DMACART

Commissions for Portraits are also welcome.

See more information at – www. dmacart.com

New Growth – Paintings by Davy Macdonald

Dundas Street Gallery, 6 Dundas Street, Edinburgh EH3 6HZ

Saturday 22 July to Saturday 29 July, 2017. 10am – 6pm daily.

 

 

“The Lightness of Being” – Alison Simpson and Amanda Baron – delicate, decorative paper and glass artwork at the Birch Tree Gallery, Edinburgh

Birch Tree Gallery , Edinburgh

The Birch Tree Gallery opened on Dundas Street, Edinburgh in March 2017 specialising in showcasing the fine art of Craft.  The gallery name represents the simple yet effective  image of the texture of bark to denote the wider world of nature as represented through art.  A range of regularly changing exhibitions feature a diverse selection of artists who specialise in natural materials, creatively working with textiles, wood, glass, ceramics, paper, porcelain, metals, silver, gold, gemstones, as well as linocuts, mezzotints and screen prints.

“The Lightness of Being” currently showcases the innovative work of Alison Simpson and Amanda Baron, who specialise  respectively in Paper and Glass.

At Art College, Alison trained first and foremost as a sculptor, forging a career in metalwork, constructing and casting in steel, bronze and iron. But after a decade or more, the heat, heavy weight and hardness of the work and materials ceased to be an inspiration, and she wisely turned to learning about and experimenting with the delicate art of paper-crafting. Paper can be made from any plant, and Alison uses the fibres from cotton and linen and locally grown Scottish flax.

Another Month of Sundays – Alison Simpson

Around the gallery is a series of beautifully framed, white and gold, textured, decorative Paper squares. “Through Trees” shows what seems like a woodland of tall slender trunks, with perhaps the glow of the moon beyond. It is meticulously crafted, to reflect the light-as-a-feather, literally “paper-thin” material of the delicate fibrous fabric.

Through Trees – Alison Simpson

Around the gallery is also a marvellous display of sculptured paper ornaments such as a linked chain of bluebells with pretty petals, shapely shells and tiny birds.

Blue Ten – Alison Simpson

Alison lives and works on the Moray Firth, where the natural environment of the sea, beach, changing light and weather is all a rich stimulus in her creativity. As she explains, “When I make a piece of art, I want the viewer to stop struggling to understand, just to stand, to breathe, to rest the eye.  The complex and miraculous properties of paper allow me to do this, creating sculptural pieces that weigh little in comparison to their visual impact. ”

Large White Shell – Alison Simpson

To complement Alison’s enriching papercrafts, Amanda Baron is exhibiting an enticing collection of decorative glass and jewellery. She studied Architectural Glass at Edinburgh College of Art,  later Artist in residence here, and worked for many years as a conservator of stained glass.

Cloud Study – Amanda Baron

This exhibition features stunning framed works of kiln-fired enamel on mouth blown glass. The theme of the environment is inspired from a visit to the Isle of Eigg where along the Singing Sands and Laig Bay Beach, Amanda observed the sky, clouds, rock pools, ferns, lichen and sand patterns created by the tide.

Sand Movement – Amanda Baron

In such meticulous craftwork, “Sand Movement”, “Cloud Study”, and “Rock Pool,” the soft shades of blue, white and grey shapes almost appear floating in the transparency of the glass.

Rock Pool – Amanda Baron

Here are circles, discs, ovals and patterned shapes to represent the impression of shards of light and droplets of water,  grains of sand, shells, seaweed – fragments of the seashore recreated as imaginatively composed works of art.

Oval line – Amanda Baron

As Amanda describes the process: “I make paintings on glass that reflect my research into elements of Scottish landscape. I highlight the qualities of glass using traditional painting, staining and enameling techniques that are relatively unchanged since the medieval period. The work is hand painted using kiln fired glass paints and can have up to six firings to build up surface layers. They embody and crystallise my response to the craft of the material and the beauty of landscape”.

The result is a masterly effect of landscape painting and botanical illustration inspired by traditional stained glass.  See also her collection of jewellery, such as exquisitely polished and perfected orange, gold and green glass pendants.

This is truly a most inspirational and imaginatively curated exhibition, where the beauty of Scottish land and sea, from the Highlands to the Hebrides has been translated into such finely crafted artworks composed in paper and glass.

The Lightness of Being – Alison Simpson and Amanda Baron

6 July to 1 August, 2017

Birch Tree Gallery 23a Dundas Street, Edinburgh EH3 6QQ

www.birchtreegallery.co.uk

 

Rose Strang – Moonscapes: Isle of Harris @ Whitespace Gallery, Edinburgh

I first came across the beautifully crafted and atmospheric landscapes of the Scottish Borders by Rose Strang when she exhibited her work at Whitespace Gallery, Howe Street, Edinburgh in July 2015.

At the time, I wrote:  “There’s a distinctive sense of physically being outside in the open air as you study each canvas; it’s the subtlety of thin shards of sunlight through leaves as well as such a realistic perspective of each landscape”.

Moffat Hills, Rose Strang

Rose is clearly inspired by the sense of place, the outdoor natural world and wide open spaces.  This exhibition of new paintings, entitled Moonscapes, is based on her journey this summer to the Isle of Harris, the Outer Hebrides…..certainly a painterly destination for a breath of fresh air and stunning scenic views of mountains and seashore.

Before I describe the artworks, this is a fascinating story.  Take a look at this photograph.

West Beach

The white sands and gently lapping turquoise sea at Kai Bae Beach, Thailand looks like heaven on earth.

There is just one problem. The photograph is actually of West Beach on the beautiful, but slightly cooler, island of Berneray in the Outer Hebrides.  Instead of sending a photographer to Kai Bae, Thailand tourism simply Googled images of idyllic beaches and borrowed one of Berneray. The sand dunes and calm azure water may look tropical, but distant Harris hills and a lack of coconut palms is not Thailand!

The diverse scenery around Harris is simply stunning and certainly an artist’s paradise.

Traigh Luskentir, Harris – Rose Strang

Take a tour around Harris to view the lush, languid beauty of Luskentyre Bay with its iconic undulating dunes of pure white sand, etched with wild machair grasses along the shore.

Luksentir Sea – Rose Strang

A totally different terrain is experienced on the east coast of the island where you’ll find a rugged, rocky, raw and wild seascape. Rose must have studied each place for hours to capture the change of light from dawn to dusk. As the title suggests, there are delicate scenes of lochs and distant hills bathed in soft moonlight.

Harris Moon – Rose Strang

What is especially creative is the method by which thick brushstrokes of oil, perhaps with the addition of grass or sand added, (similar to the masterstroke by Joan Eardley) to create a realistic aspect to denote the texture and tone of the natural environment on the canvas.

Harris Twilight – Rose Strang

Colour palette is muted but again, natural, with blends of turquoise and navy blue to show the shallow and deep water of the sea, matched by the bracken brown and sage green shades of wild flowers and foliage.

The paintings range from large landscapes to miniature vignettes, but all composed with extraordinary detail, especially the study and movement of waves and clouds.

What I admire about Rose’s briskly painted, sketchy style of land and seascapes, is that they are purposely not photographic.   A Kodak or digital image represents the accuracy of a scene, but not the atmospheric mood, the gentle graduation of light and shade.

Na Buirgh Beach, Harris – Rose Strang

This is the work of someone who is totally absorbed by what she sees, and with the astute eye of an artist, is able to present a fresh, impressionistic clarity of vision.

Just like her paintings of the Borders, here again you really feel that you are standing there on the beach or wild moorland on the Isle of Harris. Catch the whiff of the salt sea air, the warmth of the sun or chill breeze of  late evening –  as you walk around the gallery.

Moonscapes: Isle of Harris by Rose Strang

14 – 20 July, 2017

Whitespace Gallery, East Crosscauseway, Edinburgh EH8 9HQ

If you cannot visit the gallery this week, do take a look at her website for images and information:

http://www.rosestrangartworks.wordpress.com

 

 

 

 

 

 

A re-booted, re-energised, reinvented Edinburgh’s Hogmanay Festival for 2018

On one of the sunniest, hottest day of the summer so far in Edinburgh, it seemed slightly incongruous to attend the media launch at Mansfield Traquair of the Hogmanay Festival 2018.

Underbelly, which stages Edinburgh Fringe productions from Cowgate to Bristo Square, and UK wide outdoor events year round, has been chosen as the new creative management team., taking over the reins from Unique Events.

Ed Bartlam and Charlie Wood present their Festival programme

Directors, Ed Bartlam and Charlie Wood, have brought together a crack creative team under Executive Producer, Martin Green. For five years he was Head of Events for London’s New Year, oversaw the 2012 Olympic Games celebrations, and is currently the director of Hull UK City of Culture, 2017.

From the programme line up, they are certainly starting their first year with a colourful spectacle and big bang.

An underlying theme is to take the New Year celebration back to its roots of the old Hogmanay parties at home, when revellers would tour around to “first foot” family and friends, with gifts of coal, shortbread and whisky.  Edinburgh’s Hogmanay  2017/2018 will present an enormous “House Party”  to bring local residents and international visitors together for a modern remix of the traditional Hogmanay.

Once again, it will be an exciting, colourful three day Festival starting with the ever popular Torchlight Procession on 30 December, when thousands of people will create a river of light down the Royal Mile to the Palace of Holyroodhouse and Queens Park.

Torch Procession on 30 December

As 2018 is the Year of Young People, a special project will bring kids and youngsters together to select one universal word, the #ScotWord to illustrate what Scotland means to them.

Another innovation in welcoming Festival goers of all ages, is a special event, Bairns Afore,  a Hogmanay party for families which children in Princes Street gardens with their own mini firework display at 6pm.  Then the bairns can be packed off to bed before the adults can go out again and party.!

Several years ago, on 30 December there was the regular “Night Afore Fiesta” with a parade of street theatre, music and entertainment, stilt walkers and giant puppets along George Street.  When this ended, it was sorely missed. However, this style of Fiesta is back even bigger and better this year.

On Hogmanay, 31 December, the gates to the famous Street Party will open at 7pm. This will be a dramatic, exciting, new revamp to the usual event, with a fabulous Carnival of street theatre, acrobats, dancers and a spectacle of light and sound. Along and around Princes Street there will be three stages for a diverse range of musical entertainment.  There will also be a Ceilidh in the Gardens, and the annual Concert at the Ross Bandstand – further details on bands and singers will be announced soon.

The famous Street Party on 31 December

At midnight, the Fireworks will have an impressive and extended display to bring in the New Year with sparkling light, fizz, crackle and pop to delight the crowd of 60,000 revellers.

Fireworks explode from the Castle Rock

The festivities continue on 1st January when the brave or foolhardy can take a trip to South Queensferry to join in the traditional Loony Dook (or Daft Dip) in the Firth of Forth. Fancy dress encouraged!

Loony Dook in the First of Forth on 1 January

After a rousing  Hogmanay rendition of Auld Lang Syne by Robert Burns, the New Year will continue in literary mode,  to celebrate its status as the first UNESCO City of Literature, and inspired by Burns’ poem, “Sketch New Year’s Day. ” Message from the Skies will feature a unique murder mystery written by best selling crime writer, Val McDermid in collaboration with director, Philip Howard.  Taking city residents and visitors on a journey around the city, the short story will be projected around the streets and landmark buildings each evening from 1 – 25 January, Robert Burns’ birthday.

Edinburgh’s Hogmanay 2018 will celebrate the 25th anniversary of the first ever Princes Street Party, an event which gradually developed into a three day, world famous Winter festival.  It is extraordinary to realise that it was Edinburgh which led the way to herald in the New Year with dazzling Fireworks from the Castle. This later inspired London, Sydney and Hong Kong and other cities to light up the skies at midnight.

Join in the party, the fun, fireworks, #Scotword, stories, songs and the fiesta spirit at Edinburgh’s Hogmanay 2018.

Say to the World: I WAS THERE.   

“…. this is not the end of a year, 

but the beginning of a new. 

We will clasp the hands of every stranger, 

Because this belongs to all of us. 

This is our New Year. 

This is ‘the’ New Year.

We’ll leave as beacons, shining lights

That say to the world: 

I – WAS – THERE. 

Edinburgh’s Hogmanay. 

It’ll leave its mark.”

For more information:

http://www.edinburghshogmanay.com

Join the world famous party at Edinburgh’s Hogmanay

 

 

 

 

“Post-Truth” – the intimate world of Street Kids, Selfies and Social Media as observed by Artist, Alex Hain

Post-Truth

an exhibition of paintings and sketches by Alex Hain. 

Dundas Street Gallery,  6a Dundas Street, Edinburgh EH3 6HZ

23 – 28 June, 2017, open daily 10am – 5pm.   http://www.alexhain.com

There must be oil, acrylic and pencil lead flowing through the veins of Alex Hain as both his parents went to Art College – he shares a studio with his father, Rob Hain, who specialises in colourful, animation-style prints of Scottish scenes.

Alex is clearly a talented, refreshingly exciting, young artist from the Scottish Borders with quirky, comical observations on today’s cool, contemporary Youth “Yoof” culture. This exhibition, entitled Post-Truth (Word of the Year 2016 and Trump’s fave saying), is an interlinked series of portraits and figurative studies, illustrating the global craze of the Selfie in oil on canvas.

#Whatever

Here is the twittering,  symbolic, shorthand manner of communication through #hashtag, SnapChat and Instagram, where today’s teenagers share, by text and photograph, the most intimate details of their life and loves on social media.

Walk around the Dundas Street Gallery to observe a truthful snapshot of the new kids on the block, wild girls out on a Saturday night, cheeky chavs with their back-to-front baseball caps and hoodies, and brash, street wise guys partying down the pub, drinks in hand.

#Lads

There’s a great sense of filmic movement and energy in such works as “#Lads,” three guys showing off with gleeful gestures and grimaces, and three blondes as high kicking clubbers, posing for the camera lens in the Ladies Loos.

Subjects range from the playful to the political: as well as these vibrant oil paintings depicting the fun and frolics of modern social life, there are simple, black and white caricatures such as “#Jungle”, showing the fear and confusion on the face of a migrant child, perhaps at the Calais camp.

#jungle

“#Legs” shows the tall, skinny limbs of (faceless) migrant parents with their two tiny toddlers, staying close to Mum and Dad. Their slightly distorted facial features reflect a sense of sadness and loss in this new alien environment, far from home.

#Legs

These are reminiscent of the evocative images by Joan Eardley who was fascinated by the poor, grubby, mischevious kids playing outside her studio in Townhead, Glasgow in the early 1950s.  As she wrote,

“I like the friendliness of the back streets, which mean almost entirely screaming, playing children … the noise of children”.  She concentrated on drawing the large Samson family (12 children)  focusing on their hand-me-down clothes, cross-eyed girls with messy hair, as well as the urban squalor of this neighbourhood, living in slum tenements with graffiti walls.

A few of the Samson children (Joan Eardley)

Alex is also fascinated by capturing an incisive glimpse of today’s cool kids whose behaviour, looks and language are led by the fast changing, Internet-driven, global life and times of the Millennial generation. This is a bold,  unique painterly vision and,  like Eardley, Hain is a true social commentator through his art.

#Chavs

#Forever

If there was an urban pop soundtrack to this inner city lifestyle, it would be a rousing, raucous rap by Tinie Tempah, Will.i.am or Eminem: perhaps a flavour of hip hop, gangsta tunes could be played in the gallery to capture the musical mood and beat of the street.

Girls Like – Tinie Tempah (featuring Zara Larsson)

Now everyone I go people want a photo
I could make a honey give away her last rolo
Then I say sure, yo, you know how I roll
All the girls like
I know what boys like
I know what they want
They want that good thing
They wanna get some
(All the girls like)