Saturday 4 November saw the opening of the inaugural Scottish Landscape Awards (SLAs) at Edinburgh’s City Art Centre.
And I was delighted to be able to attend the highly anticipated private view of this prestigious new exhibition the evening before, having had my etching of Dunnottar Castle shortlisted for the SLAs back in July.
It was one of only 133 artworks to be shortlisted from almost 3000 entries and, although it didn’t win a prize, I was extremely proud to see it hanging in a fantastic spot in one of the country’s best and most visited public galleries.
It was a wonderful evening of catching up with some old friends in my former Edinburgh stomping ground, as well as meeting a few of my own favourite artists for the first time. It also allowed me to see what’s happening right now at the sharp end of Scottish landscape painting and printmaking.
The variety of work on show at the Scottish Landscape Awards – not to mention the talent and skill employed to create it – ensure that this is a hugely enjoyable exhibition for artists and art lovers alike, showcasing the country’s huge diversity in subject matter and the many different and intriguing techniques used to create the pieces.
My partner Pam who accompanied me on the night
And, of course, its always great to see your work shown alongside your peers and some of this country’s most successful and admired artists.
Barbra Rae announcing the SLA winners (photo by Greg Macvean)
My image of Dunnottar Castle came about as part of a commission I was awarded by Aberdeen Art Galleries & Museums in January 2023. Click here to learn more about and the various printmaking methods I used in its creation. I am also very proud to have an artist’s proof of this print, along with the 3 others I produced for that commission, in Aberdeen Art Galleries & Museums’ permanent art collection.
Describing my working methods to the Friends of Aberdeen Art Galleries & Museums at the city’s Treasure Hub earlier this year on completion of the commission
This has been a particularly busy and hugely rewarding year for me so far: with two successful solo shows under my belt at Frames Gallery in Perth and Inverness Creative Academy; the aforementioned commission from Aberdeen Art Galleries & Museums; and another for luxury Edinburgh-based leather goods brand Strathberry Ltd (of which there will be more to report soon).
At the Scottish Landscape Awards private view with my show catalogue and print of Dunnottar Castle
And having my work included in the inaugural Scottish Landscape Awards exhibition, as well as featured in the gorgeous catalogue that accompanies the show, means that this has also been my most successful year to date.
Meffan Winter Show 2023
But it doesn’t end there for 2023, or for this particular print! I am happy to say that Dunnottar Castle is also featured in the Meffan Art Gallery annual winter show, which opened in Forfar on Friday 10 November.
As for the rest of the year, I will be working hard to produce new paintings and prints for my next solo show, which is at Graystone Gallery in Edinburgh in February. Details to follow, but I am excited to be the first artist to have a solo show at their brand-new gallery premises in Stockbridge.
Dunnottar Castle, in a limited edition of only 40 signed and numbered prints, is currently available to purchase (in a frame) at the City Art Centre, Edinburgh and the Meffan Institute, Forfar. Unframed prints can also be bought directly from my shop by clicking here.
I was initially told about the Aberdeen Art Gallery & Museums (AAGM) Micro-commissions by a studio colleague the day before the deadline. I was in the middle of moving into my new studio and packing for a New Year trip to Crovie the following day. However, as a relative newcomer to Aberdeen and having spent many hours admiring the gallery’s fantastic collection, my interest had been piqued! I downloaded the application form and had a first draft written within an hour.
At the Aberdeen Art Gallery and Museums’ (AAGM) Treasure Hub where I gave a talk about my Micro Commission work to the Friends of AAGM
The brief
Applicants were asked to say something about their lived experience in the city, addressing themes that might include social justice, climate change, identity, well-being and migration, while responding to something that was already part of the AAGM collection.
I thought it could be a challenge to come up with an exciting print-based project that would test some of my recently acquired printmaking skills, especially in screen and photopolymer printing. And, in the unlikely event my proposal was successful, I might just about manage to complete the rather ambitious project I had put together in my mind, despite having already committed to 2 solo shows and another important commission – all of which were to be fulfilled before the AAGM June deadline!
No holiday for me … not yet anyway!
So the first day of our supposedly relaxing holiday was spent editing my application (with considerable help from my patient and very understanding partner Pam) and it was submitted within an hour of the deadline.
Having never applied for anything like this before, I resignedly put the whole experience down to good practice and relaxed for the rest of our trip.
Success!
Around 4 weeks later, having forgotten all about my application and while frantically finishing several paintings and working on the final preparations for my early March solo show, I received an email to say my proposal had in fact been successful!
My initial elation and surprise at this great news were suddenly followed by a gut-wrenching dread that I might just have overstretched myself! But I do love a challenge and that’s exactly what the following 5 months proved to be!
The final 3 prints that make up the triptych: Disintegration, Transformation & Anticipation. I named the triptych with a nod to the 3 institutions that feature in the middle print; namely the Central Library, St Mark’s Church & His Majesty’s Theatre, collectively known by locals as Education, Salvation &Damnation.
The Proposal
In selecting a work from the AAGM collection as an initial reference for my own project, John Piper’s powerfully atmospheric painting of Dunnottar Castle immediately sprang to mind. Like many of his works, it perfectly captures with great drama and deceptive simplicity the beauty that can often be found even in a crumbling old building. This got me thinking about how the disintegration of one thing can lead to something new and possibly even more beautiful in its place (a painting in this instance, but also the castle itself).
Dunnottar Castle by John Piper
From here I travelled north in my mind to Aberdeen city centre and thought of the recently opened Union Terrace Gardens and how they have helped to rejuvenate that part of the city.
Newly reopened and rejuvenated Union Terrace Gardens (January 2023)
I then took a short trip across Union Street to the recently demolished Aberdeen Market and pondered how that has provided an opportunity (and also hope) that something better might arise out of the dust and rubble.
The currently vacant site of the old Aberdeen Market
I decided to produce a triptych of handmade prints exploring the theme of disintegration in relation to those three well-loved local sites. To bring these ideas to fruition I wanted to use three different printmaking techniques, which would reflect the past, present and future in their own way.
Three Different subjects printed three different ways
Disintegration
Disintegration, the first piece in the triptych, is a traditional copper-plate etching inspired by John Piper’s painting of Dunnottar Castle.
Disintegration – 40x60cm – copper plate etching with hard ground and aquatint (including sugar lift and spit bite) on Hahnemüle etching paper
Inking up the plate
Disintegration is signed and ready to deliver to Aberdeen Art Gallery when framed
Transformation
Transformation – 40x76cm – photopolymer etching with chine collé and watercolour on calendered Hahnemüle etching paper
The middle piece, Transformation, depicts Union Terrace Gardens and contrasts old and new features now present in the gardens and also in the methods used to create the print.
Chine collé tissue cut to shape for adding colour to the etching
It combines very traditional etching techniques like chine collé above to add colour to the print …
An acetate was used to expose the image onto a photopolymer-coated steel plate
… alongside methods employed in contemporary digital photography.
Transformation completed at Peacock Print Studio in Aberdeen and ready for the AAGM collection
Anticipation
Anticipation – 40x60cm – screen print on calendered Hahnemüle etching paper
Anticipation focuses on the Aberdeen Market area and poses the question: what does the future hold for this site?
Making a composite of the various pictorial elements in Photoshop
Photoshop was used to combine a drone-captured digital image with an interpretation of the Herakut mural from the old Aberdeen Market.
A proof incorporating the hand-painted golden question mark
The final image of the triptych, Anticipation, is signed and ready to frame
The Micro Commission Experience
Working on the AAGM Micro-commission has been a fantastic experience as well as a great opportunity to learn. Not only because it has allowed me to develop and test my skills in traditional and photopolymer etching, as well as screen printing, but the funding that was provided by the Friends of Aberdeen Art Gallery and Museums has also enabled me to produce an entirely new stand-alone series of prints that are quite different from anything I have done before. It is also wonderful to know that my triptych has been accessioned into the AAGM permanent collection.
Describing the processes involved in producing each print at Aberdeen’s Treasure Hub
I would advise anyone who is interested in applying to the next round of Micro-commissions to absolutely go for it. This has been a hugely rewarding experience and has shown me what I can achieve under intense pressure.
And finally …
Finally, I would like to say a huge THANK YOU to the Friends of Aberdeen Art Gallery and Museums for providing the £2500 funding that enabled my Micro Commission, and many thanks also to Shona Elliot and all the staff at AAGM for their excellent support throughout. I’d also like to thank the staff at Peacock Print Studio and, in particular, James Vaas and Struan Hamilton who have both been very generous with their time, patience and expertise throughout this process.
I will put together another post soon where I will go into more detail about the making of each print in the triptych … watch this space!
This is the final week of my solo show Paintings & Prints From Scotland To The Moon at Inverness Creative Academy.
I’ll be on site from 2-3.30pm this Friday 14th July to give visitors a guided walk around the 40 pictures. I’ll discuss the many techniques I use to create the works as well as the inspirations and ideas behind them. I’ll also be more than happy to answer any questions about my practice and experience of working as a full-time artist.
It’s free entry so just show up at the cafe at 2pm and say hello. I’ll look forward to meeting you then!
Paintings & Prints From Scotland To The Moon is on until Saturday 15th July at 4pm.
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 …
Neist Point, Skye, oil on canvas
Muckle Flugga, oil on canvas
The Bell Rock, photopolymer etching
Glitter Moons – Yellow, Blue & Red, etching and screensprint
The North Face, Ben Nevis, etching and aquatint
The Old Town, Edinburgh (Twilight), mixed media over etching
Towards Arthur’s Seat & South Queensferry, mixed media over etching
I will have a few artist proofs available to buy soon and they can be reserved by contacting me directly. Click here to reserve yours now!
However, the first and original Super Moon is still available to buy here!
Super Moon
And, if you’re quick, you still have time to grab one before Christmas!
Better still, you can get 25% off the usual price using discount code BLACKFRIDAY
It’s that time of year when everyone’s looking for a good deal. So I’ve decided to offer a HUGE 25% Black Friday DISCOUNT on all my giclée prints and etchings for a very limited time only. (Ends Sun 27th Nov at 11.55pm)
Dean Village (Sunset) – 65x50cm (usual price £150 – now £112.50)
So if you’re looking for an extra special and very personal Christmas present for yourself or a loved one then look no further!
The Old Town, Edinburgh – 65x50cm (usual price £150 – now £112.50)
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.
Towards Arthur’s Seat, Edinburgh – 45x33cm (usual price £95 – now £71.25)
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!]
Blue Moon A/P – etching 57x47cm image size (usual price £595 – now £446.25)
I am very excited to be showing several of my oil paintings and handmade prints with Edinburgh’s newest purveyor of fine art, Graystone Gallery. Owner Lesley has found a truly inspired space for her inaugural show in what has to be the most exquisite and stylish boutique hotel I’ve ever seen!
And you are invited to the Private View at 24 Royal Terrace this coming Thursday (details below).
On any given day, the walls of 24 Royal Terrace, aka The Art Hotel, are full of colour and when I dropped off my own works for this winter show last Friday I was astonished (in a very good way!) to see such a huge variety of great art in one incredible setting. The pictures above give only a tiny taste of what it’s really like in there!
Glitter Moon – Blue Etching and screen print 58 x 48cm (image size)
The hotel owner, who has personally collected art from around the world and curated each and every room herself, not only has excellent taste but has created a highly unique setting in which you can indulge yourself over a cocktail or a fine whisky while taking in some fabulous contemporary art.
The Bass Rock (Nocturne) Oil on wood panel 74 x 74cm framed
Alongside some pretty huge and important works by the likes of John Bellany and Alan Davie, there’s a highly ecclectic mix of landscapes, figurative and abstract pieces that should pique the interest of any art enthusiast. I could easily have spent a day in there myself!
Dubh Artach Oil on wood panel 74 x 74cm framed
For this first Graystone Gallery pop-up show a number of the walls have been rehung with works by around 20 contemporary artists from Scotland and beyond, including 9 by yours truly.
Where There Is Light Oil on wood panel 78cm x 78cm framed
So if you love art and happen to be in Edinburgh this coming Thursday evening then you need to get along to the private view (details below)!
Rattray Head (Cirrus Clouds) Oil on canvas 79 x79cm framed
If you can’t make that then the show will run until 2 Jan 2023. And, as you can see below, Lesley has also organised a number of events to run alongside this show, including an Artist’s Night, at which I and a couple of others will discuss our techniques and inspirations.
It all promises to be a very special feast for the eyes and one not to be missed this festive period!
“The theme of the sea also comes up again and again in the work of Fife Dunfermline Printmakers Workshop in the Lesser Hall in James Street. Also part of the invited programme, this artist-run cooperative brings together a range of artists working in different styles and media. Particular highlights include Clive Ramage’s striking etching of the moon and Catherine King’s large monotype landscape, capturing weather, clouds and water in saturated shades of blue and grey.”
And I am also delighted to report that 3 of my Blue Moon prints sold on the very first day! That means there’s only 2 left to buy from the very limited edition of just 20 numbered prints!
One of 3 Blue Moons sold at Pittenweem on opening day. I wish this framed one had been left there for the whole show! I’ll have another framed for my NEOS event in September though, where I’ll also have some artist’s proofs for sale. Some lovely work also on show here by my Dunfermline printmaking colleagues Catherine King (left), Olga Krasanova (bottom right) and Peter Kirley (top right).
This moon etching really does seem to glow as brightly as the real thing and it makes a beautiful and bold statement on any wall. It comes from an extremely limited numbered edition of 20 and they have consistently sold at the few shows I’ve entered them.
Here’s a video of me pulling a print from the copper plate just last week …
There are now only 2 numbered prints left, plus a few artists proofs (which I’ll be holding on to for my North East Open Studios (NEOS) event 10-19 Sept 2022 – more details to come!).
Me with my moon print at the preview on Friday night
So if you want your very own Blue Moon to gaze at whenever you like then get in touch with me now or follow the link to my shop and bag yours before they’re all gone!
My Dunnottar Castle print at Pittenweem alongside work bt Peter Kirley (left) and Bethany Snaddon (right)
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Original, hand-made etching printed on 310gsm Hanhmuhle etching paper.
Limited to an extremely small edition of only 20 prints.
Image size: 57.5 x 47 cm (22.5 x 18.5 inches)
Paper Size 71 x 53.5 cm / (28 x 22 inches)
Shipping: The print is sold unframed, but lovingly wrapped and rolled in tissue and packaged in a tough cardboard tube for protection. UK p&p is £20 and shipping time is around 2 weeks. International delivery is £25 but allow up to 3 weeks.
Tomorrow marks the start of the Pittenweem Arts Festival (6-13th August) and I’m very happy to be taking part alongside fellow members of Fife Dunfermline Printmakers Workshop. I’m looking forward to seeing all the work we have on show at the preview this evening.
All are welcome to come along tonight for an early viewing between 6.30-9pm at Lesser Church Hall, James St, Pittenweem.
Dunnottar Castle
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!
Blue Moon
I have a few other mounted prints available from the venue including the following, all of which are fairly local to the area:
A Hot Summer’s Day, ElieThe Old Wooden Pier, CulrossEdinburgh CastleThe Old Iron Pier, Aberdour
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.
The North Face, Ben Nevis 🔴
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.
Spanish Hornet (ii) 🔴
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.
Edinburgh CastleThe Old Wooden Pier, CulrossBlue MoonDean Village, EdinburghThe Old Iron Pier, Aberdour
My image of Dunnottar Castle came about as part of a commission I was awarded by Aberdeen Art Galleries & Museums in January 2023. Click here to learn more about and the various printmaking methods I used in its creation. I am also very proud to have an artist’s proof of this print, along with the 3 others I produced for that commission, in Aberdeen Art Galleries & Museums’ permanent art collection.
Dunnottar Castle, in a limited edition of only 40 signed and numbered prints, is currently available to purchase (in a frame) at the City Art Centre, Edinburgh and the Meffan Institute, Forfar. Unframed prints can also be bought directly from my shop by clicking here.
This is the final week of my solo show Paintings & Prints From Scotland To The Moon at Inverness Creative Academy.
