- The story so far
- I'm an arts journalist & PR consultant living and working in Scotland. I've been a journalist for more than 25 years. I write a regular column for Scottish quality newspaper, The Herald. I deliver a PR service with an arty bent and work on a consultancy basis with arts organisations, including Scotland's leading creative industries festival, XpoNorth & broadcast support body, ScreenHI. I am currently co-writing a book about the celebrated Scots artist, George Wyllie, with his daughter Louise. Instrumental in making a celebration of his life's work happen in 2012. For more information, see www.georgewyllie.com When I'm not being a mum/working, I talk to my dog. He laps it up. Contact me on email@example.com (All work © Jan Patience)
Monday, 26 April 2010
The Herald Gallery Round published on 24/04/10
Angel whispers come to me, when the sky is black and the moon is new.
She tells me I should bid farewell to the love I had, to the love I knew.
She tells me how to mend my heart. which opens up and falls apart.
She tells me I can think of you, when the moon is high and hidden from view.
ANGEL WHISPERS: New Work by June Carey
Mansfield Park Gallery
5 Hyndland Street, Glasgow
0141 342 4124
From today until May 22
June Carey has always been an artist with a highly-charged, often erotic and deeply intuitive approach to her craft.
There are recurring themes which she comes back to time after time in her art – wishes, kisses, angels – all wrapped up in a distinctive Carey-esque style which is part psychedelic, part iconographic and wholly original.
No-one else could mimic the freshness which she brings to her creations, which can be a presented in a dizzying mix of mediums, from pastel to, paint, etching, digital print or 3d. Sometimes all the mediums fuse brilliantly in one glorious creation.
This new body of work was inspired by Carey’s experience in Quebec during a residency at Engramme Print Studio in 2008. Being exposed to new cultures always inspires new ideas for her work as past trips to India and Mexico have proved.
Quebec and Canada turned out to be no different. “In these new pieces you will see many references to religion,” she explains. “Historically, Quebec has a very religious background and it does affect you. The Ste-Anne-de-Beaupre Basilica in particular had a deep impact on me. It is filled from floor to ceiling with crutches – a testimony to all the miracles which had taken place there.”
As with all Carey’s work, the initial ideas which she has work their way through into a very different outcome and in this new series, there is an omnipresent mask with ridged horns, which is used as both a headpiece and an object of love, symbolic of another being.
“In this new work there seems to be a strong sense of love surfacing,” she adds, “in all the shades that love presents itself in our lives.”
BEYOND THE PLAY: Neville Rae
Callendar Park, Falkirk
Mon-Sat, 10-5pm, Sun, 2-5pm
From today until May 30
The fact that Falkirk’s Park Gallery continues to present exhibitions of the calibre of this latest one by up and coming artist, Neville Rae, is testament to the power of the vision of a few key individuals behind the scenes.
Sadly, this looks like being the penultimate exhibition in the purpose-built space in the old stable block of Callendar Park. The council-run gallery, which was opened in 2000 following a successful Lottery Fund bid, is due to be relocated to nearby Callendar House in June.
What will become of this fantastic small space is anyone’s guess.
For Falkirk-born Rae this exhibition marks a return to his roots. Rae's work often has a dialogue with modernism and New Town architecture. His output moves from sculpture to drawing and film.
Fittingly, for this exhibition, Rae has created a new series of works which make reference to the gallery's location, focusing on Modernist-style building developments in the immediate vicinity. Drawing inspiration from drawings, plans, artworks and stories which have lain dormant and forgotten about for nearly 40 years, these new proposals, taken out of scale and out of place, question the language of public art, its underlying political agenda, and the aesthetic preconceptions placed upon it.
“I am interested in the history of post-war architecture in Scotland and the melancholy of a modernist tradition that never flourished,” he says. “My research and work explore the fictional creations, places and public sculptures that transgress the imaginary border between art, architecture and landscape.”
Surveying the past and potential future of human endeavors in this geographical region, the exhibition highlights public practices and ecologies unique to Falkirk.
ALICE CHANNER: Inhale, Exhale
The Glasgow School of Art, 167 Renfrew Street , Glasgow
Mon-Fri, 10.30am-4.30pm, Sat, 10am-2pm
Until May 8
Among the many sights to behold in the GI Festival, which is in full swing around Glasgow at the moment, is Alice Channer’s first solo Scottish exhibition at the Mackintosh Gallery.
For this remarkable and imaginative piece of work, Channer who has recently had two works purchased for the Tate Collection, has ‘clothed’ the space within Charles Rennie Mackintosh’s architectural masterpiece as if it were a person.
Channer’s works often take the form of swathes of material, particularly fabric, which she pleats, stretches and folds. Through exhibitions, she explores the potential for places to have the feeling of being inhabited, paralleling the way clothes are worn on the body. Inhale, Exhale swaddles Mackintosh’s work, moving with it in some places, and away from it in others.
Channer explains: “I have approached this exhibition as a two person show, with my work complimenting and moving with that of Charles Rennie Mackintosh’s. The exhibition title ‘Inhale, Exhale’ refers to a phenomenon in the work where it expands and contracts – as static forms repeat themselves, they change and move. The aperture they make opens and closes from one object to the next. This is a process that mirrors the dilation and contraction of the paired organs of my body, especially my eyes and lungs.
“The individual works are not, as is to be expected from figurative sculpture, bodies themselves or equivalents for bodies. Instead, in ‘Inhale, Exhale’, the body is everywhere that the work is not. The body becomes the beams, banisters, floor, ceiling, walls and volume of Mackintosh’s gallery.”
A new publication, ‘Exhale, Inhale’, has been commissioned as part of this exhibition, supported by GSA, Henry Moore Foundation and The Approach.