All are welcome to come along tonight for an early viewing between 6.30-9pm at Lesser Church Hall, James St, Pittenweem.
Above are 2 of the large framed prints I have in the show, St Monans and Dunnottar Castle. Both etchings were produced in July especially for this event.
I’ll also be showing my Blue Moon etching (below). There are only a few left from this very limited edition of 20 numbered prints, so if you want to own one you best hurry to bag yours!
I have a few other mounted prints available from the venue including the following, all of which are fairly local to the area:
If you can get to Pittenweem during the festival you will find art filling the streets and almost every home above the beautiful harbour and beyond. It’s a fantastic event and well worth the trip for a great day out!
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!
These three paintings went off to the wonderful Ballater Gallery this weekend. Between them I think they give a fair representation of the kind of work I’ve been doing lately.
Bennachie is possibly Aberdeenshire’s most prominent and, among the locals, favourite hill. It’s a fairly easy walk through a seemingly enchanted woodland, before steepening significantly towards the top. With it’s very distinctive torr (known as Mither Tap) it’s a hill that can be easily spotted from just about every other hilltop in the Grampians.
I’ve never seen such an abundance and variety of mushrooms and toadstools as I found under its lower slopes last autumn, and I can’t wait to get back up there on a hot summer’s day. It’s a magical place and I hope to have captured a little of that in this newly finished oil painting of the view as seen from across fields ripe and ready for harvest near Inverurie.
The Bell Rock lighthouse is one of my favourite subjects for so many reasons. I grew up in Arbroath, from where Robert Stevenson and his team planned then carved the dovetailed stones to build this 36m high wonder of the industrial world. They then shipped them 11 miles across often very dangerous seas to the reef and, when complete, it became the very first rock-based lighthouse in the world. It took the full 3 years between 1807-10 to build and that was no mean feat, considering the base is fully submerged every high tide and also for much of the remainder of each day.
While this very spot has set the stage for many a tragedy (including scores of shipwrecks and even a helicopter crash in 1955; the rotars hit the anaeometer on top of the tower) I have tried to capture it at a more serene, benevolent moment. The brilliant beam flashes out across 18 nautical miles every 5 seconds to warn passing ships of the very real dangers that lie just a few inches beneath those calm, dark waters.
Dean Village in Edinburgh is another favourite place of mine, as I’m sure it must be for many. It’s a view that will be very familiar to anyone walking or driving across the Dean Bridge as they enter the city centre from the north. Looking over the bridge at the myriad jumble of buildings your eyes are met with seemingly countless windows. I like to imagine the lives of all those others who might be gazing dreamily back out from each and every one of them.
I’ve painted this scene several times, each version capturing the same place, but at a different time of day and giving the same composition a completely different feel or atmosphere.
Just a quick note to wish you a very Happy New Year and also to say a huge !!THANK YOU!! to everyone who bought my paintings and, therefore, supported me greatly in my work throughout 2021.
Lots of very good things happened this past year, including my move to Aberdeen and settling into a great new studio here. I’ve also recently begun working with some local galleries (including Ballater and Braemar) and have lots of energy and inspiration for new pictures to paint and send to them, as well as to my regular galleries in the coming months.
Keep an eye out here for news of my latest works in progress and exhibitions, including Land & Sea which opens later this month at Heriot Gallery in Dundas Street, Edinburgh.
In the meantime, I wish you a safe, prosperous and very happy 2022!
Here’s a quick note to tellk you about two paintings I have available to buy at arTay 2020. It’s an online only show, of course, but still runs for just 4 days (ending on Sunday 31st May). So you best get in quick if you want to buy one of these two or something else from one of the 80 artists also showing.
This month I’m showing some of my work alongside 5 of Scotland’s finest and best-loved landscape and architecture specialists in a show at the excellent Fidra Fine Art gallery in Gullane.
Along with the 6 paintings below (all of which have been recently completed and were done especially for this show), I will have a few of my etchings included in what looks to be a really interesting exhibition. The show opens at Fidra Fine Art in Gullane this Saturday 25th Feb.
The other 5 artists taking part are George Birrell, Ann Cowan, Amy Dennis, Ann Oram and Allan J. Robertson. Though we’re all inspired by architecture, each of us has our own very distinct style and employ different creative techniques to create our work.
So if you happen to be in East Lothian between 26th Jan and 24 Feb then go along for a look (closed Mondays). I’ll be at the preview night this Friday (6-8pm), as will some of the other artists showing, so I’ll maybe see you at that.
I’ve also had my work shown in 2 other prestigious annual exhibitions held at the RSA this year, the RSA and RSW. So it’s been a great year on that front, but I’m hoping 2019 will be my best yet.
The new year will kick off with a show at Fidra Fine Art, Gullane, on the 25th of January, where 6 new paintings will be shown alongside works by 5 other artists who specialise in architectural landscapes, including my friend Ann Oram and some other artists I’ve yet to meet (George Birrell, Ann Cowan, Amy Dennis and Allan J Robertson). I’ve been working flat out on these pictures for the past few weeks and will post some of them here in due coarse.
In the meantime, thank you to all those of you who have supported me and my work this year and every other so far with your purchases and with your encouragement! I hope you all have a wonderful Christmas and a very Happy New Year!
This newly finished painting is off to Frames Gallery in Perth soon for their winter show, which opens on 16th Nov.
Dubh Artach Lighthouse sits on an isolated basalt rock which protrudes just 35 meters above sea level at the head of a deep, 80 mile long submarine valley. The strong Atlantic currents rush in along the valley towards the Rhinns of Mull a few miles east before rising up and around the rock, causing a maelstrom of turbulence.
The lighthouse was begun in 1867 following the previous winter’s storms, which sunk 27 vessels in the area. It was built by David and Thomas Stevenson (Robert Louis’ father) to warn ships approaching Oban through the Firth of Lorne and stands 107 feet high above the rock base and is 37 feet in diameter. An incredible feet of engineering considering its extremely remote location 16 miles from land and the rock’s tiny size! It could only be worked on at low tide in calm weather over the 5 years it took to build. Many of the workers lived on the rock in a small hut built on stilts during that time. It was automated in 1971, but it must have been a dreaded posting for many Scottish lighthouse keepers during its 101 years of being occupied.
So here it is, flashing its first beam of the night on a relatively calm summer evening.
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.
Next week sees the return of ArTay, an exhibition featuring over 60 artists and more than 300 works of art curated and hosted by Frames Gallery, Perth. The event is part of The Perth Festival of The Arts and runs from 17th- 20th May in a marquee beside the Perth Concert Hall.
As well as the painting above, I will be showing the 3 pictures included below, all of which are for sale.
Green Gallery, Dollar
I also currently have work for sale at Green Gallery in the lovely Clackmannashire village of Dollar, including the paintings shown below. It’s a lovely place and Dollar and Castle Campbell on the hill above it are well worth a visit on a sunny day.