- 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)
Wednesday, 10 November 2010
Gallery Round Up (from The Herald Arts Supplement 6/11/10)
Emma Davis, with Mary Armour's old studio desk, which still has Mary's painting paraphernalia inside. Emma inherited it when her old friend died and it now sits in Emma's studio in Quarrier's Village
Who's Got a Match? by Trevor Jones at The Union Gallery, Edinburgh
A Little Bit of Magic by Emma Davis at Wilson Davis Fine Art
A LITTLE BIT OF MAGIC
Wilson Davis Fine Art
Faith Avenue, Quarrier’s Village, by Bridge of Weir
From Nov 7 – Dec 1
In Emma Davis’ studio in Quarrier’s Village near Bridge of Weir, there’s a host of delicate sights and to catch the eye. Most artists pin up visual aide memoires to inspire them and in Emma’s studio among the swathes of fabric, drawings by her dad (the artist James Davis), paintings in progress, photographs and artwork by her four-year-old daughter Emily, there stands an old paint-spattered artist’s studio desk.
The desk belonged to the acclaimed Scottish artist, Mary Armour, who died in 2000 at the age of 98. Mary, who lived nearby in Kilbarchan, took a close interest in 34-year-old Emma’s career and was delighted when she decided to make a career as an artist. Inside the desk are all Mary’s little bits and pieces; small marmalade pots with dried paint still inside, palette knives, brushes and pastels. There’s even a photo of one of her own paintings cut out of a magazine on which she has written £62.50 – presumably the price she sold it for, which was considerably less than the thousands of pounds it fetched in the Sotheby’s sale.
The desk is just one of many personal items from Emma’s studio – as well as paintings by artists who have inspired her work - which will be on show from tomorrow at the gallery/framing studio which Emma runs with her husband Alan Wilson.
The exhibition features a large body of new work from Emma, from study stage to completed painting. Her sought-after, softly textured still lives and landscapes are instantly recognisable and intensely feminine.
She explains: “I don’t often give much away about what goes on in my head when I paint, but I have had so much encouragement to do this – to show people the journey that has led me to this point, to show the influences on my painting, and the evolution of my style.
Emma often uses Mary Armour’s materials in her own paintings and is convinced the desk has brought her luck. She used her pastels in a recent work, Fabrics, which won her the coveted Mary Armour Award from the Paisley Art Institute earlier this year.
“I wouldn’t be able to do this anywhere but my own gallery, below my own studio, where I feel most comfortable.”
GROUP OF SIX 2010
The Glasgow Art Club
185 Bath Street, Glasgow
0141 248 5265
Until Nov 27
Until 1983, the venerable institution that is Glasgow Art Club did not admit women as members. Perhaps the old guard feared their lives would be made a misery by tribes of paint-spattered harpies. Or maybe, some 55 years after all women were given the vote in the UK, they realised they were fighting a losing battle.
The first woman to be admitted as a member was Connie Simmers and the occasion was marked by a Champagne reception. Today, Simmers is still a member of the Art Club and is one of six women members taking part in an exhibition which has taken over most of the club, including the recently refurbished upstairs ‘billiard room’, now a pleasant, almost feminine casual eating and drinking area.
The other five artists are; Shona Barr, Delny Goalen, Jennifer Irvine, Liz Knox and Hazel Nagl. They are all friends and all members of the club.
It’s an inspired combination. All are painters all have distinctive, though complementary styles. Shona Barr’s luscious colour is applied with gusto and though her palette changes from painting to painting there is no denying her signature.
Hazel Nagl’s work has an almost sepulchral feel, displaying a confidence and softness all at once. The instantly recognisable paintings of Liz Knox are like still lives of life itself, while Connie Simmers’ colourful works are things of beauty, both up close and at a distance.
Jennifer Irvine’s subtle depiction of light and shade and the patterns which arise from man-made structures and natural forms are delicate and beautifully realised. Delny Goalen, who attended Glasgow School of Art in the 1950s alongside the likes of the late Jimmy Robertson and Alan Fletcher, is the grande dame of the pack making a return to painting in style.
This exhibition is open to the public – so don’t be shy. Ring the bell and ask to see it. It’s worth it.
SYNAESTHESIA II: NEW PAINTINGS BY TREVOR JONES
45 Broughton Street
0131 556 7707
Until Nov 29
Canadian-born Trevor Jones’ day job is as an Assistant Director of the national charity, Art in Healthcare. He is also a part-time tutor at Leith School of Art in Edinburgh and since he graduated in 2008 from Edinburgh University’s MA Fine Art Programme, he has forged a reputation as an abstract painter.
In this exhibition, he draws on the neurologically-based condition of synaesthesia, which sees people join up the way they experience two or more of the five senses.
In this exhibition, inspired by the music of various contemporary Scottish bands and singers, viewers will be able to enjoy through a personal MP3 player while seeing the work.
The use of Scottish contemporary music as inspiration for this collection of work adds to the feeling of an artist embracing the culture of his adoptive home.
Jones describes his paintings as ‘layers of thought’, built up with various media. Working in a free flowing manner while incorporating rhythms and patterns, text and textures, the work evolves until the essence of the subject matter reveals itself.
He explains: “There is a long history of both scientists and artists attempting to establish a connection between music and colour; however, while no meaningful relationship has been measured, this hasn't hindered the creation of artworks that are still insightful, challenging or simply visually stimulating and engaging.
“These paintings are not an attempt to 'make right' where others 'went wrong'. They’re more a tribute to those past artists who, like me, were inspired by the phenomenon and complexity of colour and its transcendental connection with music.”