Saturday 10th June marks the opening of my first ever solo show in Inverness.
With this body of work I hope to showcase both my varied interests and inspirations as a landscape artist, as well as the many techniques I use and often combine in their creation.
In conjunction with Wasps Artist Studios, I will present around 30 pieces in total. These will include dramatic new oil paintings of Neist Point and Isle Ornsay in Skye, alongside several mixed-media cityscapes of Edinburgh and surroundings.
Also on show will be a selection of atmospheric etchings featuring, among other things, several Scottish lighthouses, castles and mountains.
There will also be 3 different coloured versions of my recent series of Glitter Moon limited-edition handmade prints, framed with non-reflective glass and available to buy for only the second time.
So, all in all, there will be plenty to see across the two floors my show will occupy.
I will be at Inverness Creative Academy between 12-4pm for the opening on Saturday 10 June, so please come along if you are in the area. It would be great to see you there!
After almost a year of hard work and preparations, last Friday night saw the opening of my solo show at Frames Gallery in Perth. And what a fantastic night it turned out to be, with almost a quarter of the pictures sold within 2 hours!
But I have to admit that I am always a little anxious when it comes to opening nights, and especially when it’s just my work that’s on show.
There’s a lot of pressure to get everything finished, framed and on the walls on time and I feel that heavily on my shoulders for weeks in advance.
And there’s quite a lot of variety in my work too, so I’m also always wondering how all of those pictures will look when they’re hanging together in one room.
Of course, I’m also hoping there’s going to be a good turnout for the opening, as a great atmosphere always helps to get any show off to the best start.
But in spite of my growing nerves as 6pm approached on the big day, I should really have known that I needn’t have worried! Hugh and his team at the gallery had done a brilliant job of hanging the show and I couldn’t have been happier with how all 45 pictures were presented!
And to add to my great feeling of relief and excitement I was delighted to see that there were already some red dots accompanying pictures before the doors officially opened!
It’s always lovely to chat to the people who have been to my previous shows and have bought my work in the past, and I love to meet those who’ve come along to see it for the first time.
It’s really the one chance I get to hear what people think of my newest work and that feedback is always very helpful when it comes to starting new pictures.
All in all it was a lovely night, with lots of interest and by closing time at 8pm 10 pictures were sold, ranging in price from £250 for a framed etching of Victoria Street in Edinburgh to £3450 for my large oil painting of Muckle Flugga.
I want to say a huge !!THANK YOU!! to Hugh, Julie and Jenny at the gallery for making it such a wonderful event and also to Lucy who so beautifully framed many of the pictures there! Massive thanks also to Kevin at Framing Point in Aberdeen for his incredible service and help over the past couple of years! I can’t recommend both highly enough!
And, finally, thank you so much to everyone who came along on the night, with some of you traveling a fair distance to get there! When you buy my pictures, or any artist’s, you really are helping to ensure that we can keep making more and the world would be a much duller place without art!
Here are some photos from the night. If you couldn’t make it along but still want to see the show, then you still have 2 weeks to go. And if you do go, please let me know what you think.
I am delighted to announce that my first solo show with Frames Gallery in Perth opens in less than a week and will run until 25th March! I have been exhibiting regularly with the gallery since the very earliest days of my artistic adventures, and working with Hugh and his team has always been a great pleasure.
I hope this diverse collection of over 40 paintings and original prints will not only demonstrate my development as a painter and printmaker over the past 15 years, but will also be something of a visual feast. However, that’ll be for you to decide!
Come along and enjoy a glass of wine at the private view this Friday 3rd March 6-8pm at Frames Gallery. It would be great to see you there!
Here is just a little taster of what will be on show …
So if you’re looking for an extra special and very personal Christmas present for yourself or a loved one then look no further!
Select anything from my Big Cartel shop using discount code BLACKFRIDAY and you’ll not only get this great saving but you’ll also receive it carefully wrapped and packaged well before Christmas.
And that includes one of my very rare and highly saught after Blue Moon etchings! There’s just a couple of these available right now, so you’ll have to be quick off the mark to get one at this price – and with almost £150 off the usual price!
[PLEASE NOTE: my Blue Moon numbered edition has now SOLD OUT! See most recent post for details on how to reserve a a very rare Artist Proof Blue Moon!]
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!
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.
I thought I’d post a few pictures from my new studio here in Aberdeen. I’ve been working up here for a few months now and have really enjoyed getting back into painting with oils. Having my own studio again is wonderfully liberating, as I can work much more freely and splash the paint and thinners around without worrying about getting it all over my furniture at home! It’s also great to have all my work materials out of the house and to be able to find everything I need within arm’s reach.
I also became a member of the very highly regarded Peacock Print Studio earlier this year. Working there has been a real eye opener on many levels, and having the entire space to myself (thanks to Covid!) has felt like quite a privilege. But I’ll dedicate a post to all of that at a later date.
So, in the meantime, here are a few pictures of things I’ve been working on recently at my studio in Eagle House.
This first one (above) is an oil painting of Rattray Head Lighthouse, between Peterhead and Fraserburgh. Some of the pebbles in the foreground were carefully painted while others were literally lashed onto the canvas using a liner brush with a very runny mixture of oil paint and thinner.
This second Rattray Head picture is a larger version I decided to do after feeling quite happy with the first. Both need further fine tuning though. The lighthouse painting below it will be built up in painstakingly slow glazes to convey an altogether different mood using a different technique.
The following 5 pictures are the products of my end-of-the-day palate scrapings (as I like to call them). When I’m finished working on the main picture each day, I basically smear together all the colours left on my palate and add a little oil painting medium to produce what Whistler would call his ‘soup’. He would apply this liquid paint in streaks across his canvases to produce many of his nocturne paintings. This painterly ‘soup’ often produces the loveliest of greys which I then use as the ground for future paintings. These sky and beach pictures were done this past week from imagination and I’ve yet to decide how to finish them off.
The above picture is a quick sketch I did this week of beautiful Bennachie. I’ll work it up into a finished painting, but quite like the dreamy quality of it as it is. And below is another of Rattray Head from a different angle and then there’s Catterline, one of my favourite places to paint and to spend time.
So that’s what I’ve been doing this past week or two. Every week I intend to start a whole new batch of pictures and finish at least some from the previous weeks, and continue on in this vein for many years to come. So as long as I can keep my studio (and lungs and head!) free of turpentine fumes, I’ll also try to keep posting regular updates on what I’ve been working on and also where the work will be available to see and buy.
One of the greatest joys of being an artist, alongside getting to do what you love on a daily basis, is when you get a request to use one of your pieces for something other than to adorn a wall.
Over the years, my work has been used to promote whisky (Tobermory) as well as various exhibitions, including the RSA and SSA annual open shows. More recently I was contacted by The Fortnightly Review with a request to use my etching of The Old Pier, Aberdour to illustrate a memoir they were about to publish by author John Matthias. Of course I gave my consent and was delighted to be given an opportunity to have my work published in such an august and highly respected literary journal.
The memoir itself is the fascinating and highly evocative story of a family who have had a very close personal connection with Aberdour and the old iron pier over the past 100 years. I loved reading how that decrepit old pile of rusted iron had once played a significant role in the First World War, allowing naval sailors to land closer to home in Fife before their battleships went on to dock at Rosyth further round the coast. Never in a million years would I have guessed at anything of this history and, had I not made that etching and posted a picture of it on my website, the editor would never have contacted me and I’d still be unaware of the intriguing past life of what is a very familiar landmark! I’ve said it before and I’ll say it again, art often opens up conversations that can lead to the forming of new relationships, business ventures or even inspire all kinds of other things which might not otherwise happen or … or in this case, be discovered.
I was particularly surprised to read that the entire Grand Fleet of the British navy – comprising scores of battleships and support vessels – had dropped anchor in the Firth of Forth on 11th November 1918 (Armistice Day). And how there had been “excuberant rejoicing” with fireworks and dancing on board the ships that lay across the length and breadth of the firth like a pontoon bridge when the Germans finally surrendered.
I currently have 2 of these etchings available at half price in my Big Cartel shop. That’s just £100 each using discount code 5WXW5X. Click here to visit my shop or send me an email if you’d like more information and .
To find out more about the pier and to read this beautifully evocative memoir of life in and around Aberdour during wartime, and through the decades since, click here.
Here’s a link to some incredible footage showing the Grand Fleet at sea during WW1.
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.