After 2 year’s absence from the art show calendar, I really can’t wait for arTay 2022, which opens at 10am in Perth this coming Thursday 19th May and runs until 7.30pm on Sunday 22nd.
Every May, and as if by magic, a large marquee appears next to Perth’s Concert Hall and is filled to the brim with a great assortment of fantastic artworks.
But all the real magic is what’s on show inside the marquee!
With more than 70 artists taking part and a few hundred pictures to hang and label, it’s a challenge to get it all done and looking great in just a few hours. It’s not all hard work though and there’s always a great atmosphere, with Hugh and his team making it all the more fun by providing lots of coffee and cakes to keep us all going until the show is hung. Remarkably – considering the often competative nature of a typical ‘hang’, and with so many artistic egos to be found in one relatively small compass – I have yet to witness a punch up!
As well as helping to hang the show on Wednesday, I’m also very much looking forward to catching up with lots of artist friends and maybe matching some new faces to familiar pictures and names too.
So these are the four paintings I’ll have in the show. Three fairly large atmospheric lighthouse oils and my latest dreamscape (or ‘longing’) painting of Edinburgh, as seen at night from across the Firth of Forth.
[Contact Hugh at Frames Gallery, Perth for more details, or if you would like to reserve one of these paintings. Tel: 01738 631085]
If you happen to be in or near Perth then do come along and see a huge variety of great work by some of the country’s best artists. Along with many of the other artists, I’ll be at the ‘arTay Party’ preview on Friday 20th from 6pm.
Hope to see some of you there too!
I currently have several of my etchings in a fantastic new printmaking show at Frames Gallery in Perth.
I was very happy to see some red dots below some of my pieces at the private view, including the ones below, and also to be showing alongside some of my favourite Scottish printmakers.
It really is an excellent and varied exhibition, showcasing some of the best in contemporary printmaking techinques and styles and I’m delighted to be taking part. Click here to see the works on show and do drop by if you are in Perth.
As these are editioned prints there are several of each still available, so get in touch with Frames Gallery if you are interested in anything you see here (or there!).
Here are a few more of the framed etchings I have on show at the gallery, and click here if you’d like to see the whole show online.
Until recently, I’d never heard of “The Beggar’s Mantle Fringed With Gold”. It was King James VI of Scotland who coined that description of Fife’s coast; the ragged shoreline being the frayed cloak from which the begging hand of Fife is held out in hope that the sea will provide sustenance. The gold lining perfectly captures the beautiful fishing villages that fringe the East Neuk, especially when the phosphorescent orange street lamps are aglow and the houses are lit up and cosy on a cold winter’s night.
I came to hear of it one Saturday morning a few weeks ago when my phone pinged to inform me that another painting had sold from my Big Cartel shop. As always, I got in touch with the buyer right away and, after discussing postage and various other details, asked where he’d come across my work.
Back to the beginning
The reply was so very unexpected and it not only made my day but also gave me the biggest confidence boost an artist could wish for.
The answer had its roots way back when I first started exhibiting in 2008. In fact, it was at the first exhibition I ever entered (the annual open at Kirkcaldy Museum and Art Gallery) that Jim had spotted my work. It was an oil painting of a row of typically-colourful cottages all huddled together along the shore, looking almost fearful of the next incoming tide. I’d given it the title Awaiting The Turn of The Tide with that thought in mind.
A few days after the opening I returned to see the whole show and was thrilled to find my first ever red dot. The painting really seemed to glow and stand out quite nicely in that large space. I walked out with my feet in the air and feeling this idea of being an artist I’d had for a while might just work!
But you never really think about all the other people who might stop and have a look at your efforts in a gallery. So it came as a big surprise to hear that it was way back then that my new buyer informed me he had first seen my work. He had gone in on a mission to find inspiration for a song he was trying to write for a performance he’d soon be giving at that year’s Stanza Poetry Festival in St Andrews. The song had to capture that ‘beggar’s mantle fringed with gold’ feeling. He told me that it was my painting of glowing cottages tumbling down into the sea that had helped him to visualise an idea of what he wanted to capture in words. He went off and wrote the lyrics below for Dances With Angels, performed it at Stanza and that, as they say, was that.
But now, 12 years later and living in Kent, he told me he’d always remembered that painting (someone else had bought it) and was now in a position to buy one of my East Neuk pictures for himself. In fact, he’d had a hard job choosing between the two I had for sale on my website and a couple of days later he ended up buying the other one as well. (The two paintings directly above.)
That he’d remembered my work all that time was incredibly uplifting for me. But that it had also helped him to write his lovely song was just wonderful to discover all these years later.
Great news! Tobermory Distillery have invited me to exhibit at their inaugural Edinburgh Art Fair stand and to have my own pop-up gallery on the UK’s 1st ever Fine Art Pub Crawl. My work will be on display at Usquabae Whisky Bar, 2 Hope Street, Edinburgh from this Friday 22 November.
I love whisky and Tobermory has a special place on my palate (pardon the pun!). It was the first whisky I ever bought myself on a visit to the distillery several years ago. I also love that Tobermory is officially know as the Artisan Distiller, so it’s a fitting partnership indeed!
If you happen to be looking for a new piece of original fine art to treat yourself or someone else to this Christmas, go along to the Edinburgh Art Fair this weekend, or visit one of the pubs included on the Fine Art Crawl. And don’t forget to try the 12 Year Old Tobermory while you’re there!
Some giclee prints of selected works and a few etchings are also available at my Big Cartel shop. Slange!
I love to see how the moon appears to change colour, size and character as it moves through the sky on its nightly arc. For me, the moon is a thing of ever changing beauty, mystery and inspiration.
But where I am now it’s a cold, drizzly November night and unfortunately there’s no moon to see at all as yet, though she is up there in all her glory. So here’s one I made earlier. Inspired by a moonlit night in Marrakech 8 years ago.
I remember being mesmerised watching it rise slowly and lazily above the flat-roofed souks of the Djemaa El Fna in Marrakech. It was a clear late-November night, but the town’s main square was as busy and colourful as I’d heard it always is. Above the seething masses of lost-looking tourists, locals on the make, donkeys and carts, charmers and snakes, children begging, children fighting, shopkeepers bartering and the constant barrage of mopeds and bicycles, horses and goats, the moon’s bright glow cast a beguiling spell over my first Moroccan night. The warm breath of camels condensed then wafted up on the chilly breeze that had begun to sweep down from the High Atlas mountains 30 miles away. Pungent aromas steamed from cauldrons filled to the brim with earthy-tasting snails for curious tourists to try. Spicey flavours sizzled from market stall tagines and exotic vapours oozed out from deep inside the crowded souks. Here I was, only 4 hours after leaving Scotland where the same full moon cast a very different spell across the icy land that would soon be blanketed in deep and heavy snow for over a month.
And a quarter of a million miles above us, indifferent to the bustling world below, the moon appeared frozen in the sky. Familiar features intoned with the cool transparent hues of Prussian Blue, spread thin across a face of brilliant white. And as I looked up, she appeared to look down, watching everyone everywhere that ever was or ever will be. And in turn, each tiny, insignificant character continued to play out their roles, heads down in the darkening night.
It’s been a while since I last posted anything here but that doesn’t mean I haven’t been keeping busy. In fact, it’s because I have been so busy that I haven’t had a chance to get near my website to update it.
During the past few months I’ve taken to painting with acrylics on wood panels primed with gesso and I have to say that, despite not being one for regrets, I wish I’d done so much earlier. I love it!
The above painting of the Bass Rock (always a favourite subject of mine) is my first painting using acrylics and below is the second. I’ll continue to paint with oils for certain things, but for the time being acrylics are the way forward! Painting with them is so much quicker and easier for me and I can’t tell the difference in the end result. I always struggled with the fumes involved with turpentine, not to mention the sometimes ridiculously long drying times, which often mean waiting days if not weeks before the next colours could be layered on top of previous ones. I’m quite an impatient and impulsive person at the best of times and I like to work with a certain immediacy backed by intuition and feel, then step back to assess the results before getting on with the next stage. And because I like to work in layers across the whole picture the fast-drying nature of acrylic paint suits both my temperament and working methods perfectly.
I imagine the reason it took me so long to give them a go was because of the significant expense I’d already laid out on oil paint and the sundry materials required to get the best from them. It also meant a large initial investment in all my usual colours of artist-quality paints in the new binding medium (the pigments are exactly the same and isn’t that what really counts?!).
I think there’s also a certain historical stigma or bias (even snobbery?) attached to various methods and painting media – within the artistic community and among collectors, the public at large etc – which has meant that oil paint is sometimes seen to be king and the other binding agents are classed somewhere lower down the pigment-carrying rankings. And while there’s an obvious difference in the look and feel of a pastel, an oil or a watercolour painting of the same subject, I don’t really see much difference in the quality between oils and acrylics. I never really understood why say watercolour is often seen as a very poor relation when some of the finest artworks ever created were done in that medium (Albrecht Dürer’sYoung Hare, for example). But maybe I’ve been guilty myself of a little snobbery on that front too in the past. No more!
But the other big change for me has been using good quality plywood, which has a lovely grain and firm surface and is a pleasure to layer paint on, thick or thin. (I never had a great love for the ‘giving’ nature of canvas!) Adding gesso as a primer allows even more texture for creating interesting marks and runs of thin paint, which I also love to do.
So I’ve just primed a stack of plywood ready for painting a series of Bass Rocks of various colours and moods. The above ones are the first of many to come and they will be available for sale later this week at the 2018 Art Friends of St Columbus Hospice show, details of which can be found below.
I wanted to share some photos from my recent solo show in Edinburgh for those who weren’t able to see it in person. There were 45 pieces hanging in total and it was the biggest collection on my work to be shown in one place to date.
It was hugely beneficial for me in a creative sense to hang the show myself (well, with a lot of help from my friend Celie) as it gave me the opportunity to put the pieces together into groups that worked as mini collections on each wall. Every picture being part of a wider context. It took 2 solid days to hang the exhibition and I was glad to see that my combined output over the past 2 years or so also worked as a whole. This is something I have often wondered about (and I’m sure that’s the case for many other artists who work across a variety of media in relative isolation as I do). But the visitor feedback was also very positive in this sense, which helped to make the whole experience an absolute pleasure for me.
Of course, selling several pieces and meeting lots of lovely people and hearing their thoughts was also wonderful. As a result, I’m really looking forward to putting together my next solo show in the coming year.
In the meantime, I have lots more work out there in 6 different galleries this Christmas. A full list and links to those current exhibitions can be found here
Tomorrow will be the last full day of my show at the Edinburgh Ski Club.
It has been fantastic to have quite a large body of my work on show in one place again 2 years since my last solo. I’m glad to say the comments and feedback have been very positive from people who already know my work and the many who have come in out of the cold from the street to have a first look.
So if you are able to come along tomorrow or before 2pm on Wednesday 29th November when I’ll begin to take it down then please do come in.
Here are a couple more pictures and a video to give an idea of how it looks …
(Please ignore the heavy breathing in the video!!)
I have a few pieces in this show at the lovely Strathearn Gallery including these 2 above and below. It’s on until 21st May, so do drop in tomorrow for the opening or before the show closes in a month.
I also have new work on show at The Quay Gallery, Aberdour, including this large oil of The Bass Rock (a favourite subject!).
The other news is that I have left Fire Station Creative and will no longer be taking part in exhibitions or open studios at there. I will, however, be opening my new studio doors (in Edinburgh) to the public at some point in the future, so keep an eye out for news on that front.
And Finally …
Many thanks to those who visited the recent show at Gallery at Fifty Five in Stonehaven. The feedback was fantastic and I look forward to exhibiting there again in 2018.
Until then, I’ll be working on new pieces including more versions of the 2 hand-painted etchings above and those I’ve done of Edinburgh and the East Neuk, along with more oils based on my recent travels to Yorkshire, Cornwall and Northumberland. There will no doubt be a few more lighthouse paintings and new etchings in the pipeline too.
There’s more to report as far as exhibitions coming up are concerned and an exciting piece of news (for me at east!) about my work featuring in a new glossy magazine … but I’ll leave that for next time.
You can always find more updates and pictures of my latest works in progress etc by following me on:
I’m happy to say I have a number of exhibitions in the pipeline for this year and this lot of newly framed work will be heading off to a gallery near you in the coming week. I’ll have some of this work in the Gallery at Fifty Five Spring show opening in Stonehaven on 4th March.
There’s also arTay during Perth Festival of the Arts which takes place in May, and either side of that I’ll have work in the Pittenweem Arts & Galleries Weekend along with fellow Fire Station resident artists in April, and at the Fire Station Creative gallery which will be happening around Open Studios time in June. I’ll post the specifics for all of these nearer the times.
In the meantime, I’ll be working mainly on new oil paintings and etchings, including lots based on my recent Cornwall, Devon and East Lothian trips in the campervan.