3rd ANNUAL OPEN SUMMER EXHIBITION

Transcription

SCOTTISH
ART
S
C
E
N
E
S 19
SPECIAL
ISSUE
APRIL 2014
FEATURING
The Royal Scottish Society
Of
Painters in Watercolour
3rdAnnual Open
Summer Exhibition
The RSW returns to The Meffan in Forfar with
their Summer Exhibition. This is one of the
very few exhibitions open to all artists and as
you will see it gives an exciting mix of artwork.
This is only a taste of what is on offer and a
visit to the exhibition is highly recommended.
The Society’s Patron is:
S
HRH The Prince Charles, Duke of Rothesay.
David Smith RSW
Salmon Nets and Bothy
© scottish-art-scene.com 2013 All rights reserved
xx
John Inglis
R S W
P R S W R G I
P r e s i d e n t
H A W I
The painting is one of a series I made in Orkney
on the Bet Low scholarship I received for 2013. It
is based on a response to the landscape of
Orkney and the architecture and design of
chambered tombs which are a significant feature
of the man made, altered landscape of the
islands.
My recent paintings have taken as their source
the coastline of Angus. In particular I have been
drawn to an area I have known well since my
student days- around the North of Lunan Bay and
at the atmospheric, deserted village of Usan,
towards Montrose
See our Special issue magazine on John by
visiting our Magazine Library.
John Inglis PRSW RGI HAWI
Line in the Landscape, Orkney
Watercolour
25 x 32 cm
Ann Wegmüller
R W S
R S W
The painting "Sand Dunes" is not of a particular
place but more of a response in colour of going
down onto the beach amongst the dunes on a
sunny day.
My paintings, both in oil and watercolour, formerly
landscape based and descriptive in character
were a response to the ever changing light of
Scotland.
Through the years my work has become
statements about the land and particularly the
land around the sea edge. These are an
abstraction or distillation of what I have seen and
are painted in the studio. The colours reflect my
emotional response to the place.
Followings travels in France, Greece and Egypt
and my increasing interest in religious symbolism
and iconography, I now try to paint the spiritual
meaning of a place with its underlying values and
complexities.
Ann Wegmüller RWS RSW
Sand Dunes
Gouache
52 x 53cms
Janet Melrose
R S W
I have been making paintings in this wood for over
a year. I am interested in the interplay between
the rooks building their nests/ shelters and the
structures built by the children.
My recent work has involved me looking at an
area of woodland close to my studio. I am aware
of a shift in thinking when I enter the wood. There
is a heightened sense of awareness; an edginess,
a snap of a twig, the raucous cries of rooks. In the
midst of all this is a shelter, a place of sanctuary,
a retreat, a place to reflect on my transitory
presence in the world.
Janet Melrose RSW
The making of a shelter
100 x 70cm image size
Watercolour on gesso panel
Hugh T Rowson
R S W
"Willapa 1908" This work was painted during
2013 using watercolour, acryclic paint and acrylic
ink. The image is derived from a European visit
and an educational publication.
“Floral Jar” This painting was created using
watercolour, and acrylic paint. The painting has
been produced from an object on display in a local
art gallery.
I seek to bring life to inanimate objects in a variety
of mediums. Personal poems are juxtaposed to
create watercolour fluidity. I typically transfer
images from thumb-nail sketches to completed
paintings. I also create spatial ambiguity with the
use of strong, meaningful, pattern and decoration
as common themes in a symbolic language.
Hugh T Rowson RSW
Willapa 1908
Watercolour, acrylic paint, and acrylic ink
30 x 37 inches
Hugh T Rowson RSW
Floral Jar
Watercolour, and acrylic paint
18 x 22 inches
Anda Paterson
R S W
R G I
P A I
Life continues in medieval fashion in the hill towns
of the Algarve, and the Alentejo. This picture is
based on drawings made over many years visiting
the region.
I am fascinated by the structure and formation of
human heads and hands creases, hollows, baggy
skin around knuckles and wrists. With irony and
poetic justice I am rapidly developing a strong
resemblance to my drawings of vulnerable and
time worn people, becoming a caricature of
myself--the messy untidiness of human life,
ridiculous absurd and comic, struggling and
sometime tragic. My images have wrecked their
revenge on me for my chasing and collecting
them.
Anda Paterson RSW RGI PAI
The Goose Woman
Mixed media
20 x 20 inches
James Spence
R S W
R G I
P A I
This watercolour was painted from studies made
from my caravan at Kinkell Braes. The town is an
ever changing drama of light seen from the height
of the Braes
I have painted many subjects and tried many
styles. I first saw the Western Isles when camping
at Morar in 1958 with Ian McCulloch and Ewan
McAslan. Despite years painting in Spain and
Portugal, etchings and lithographs of the bullfight,
woodcuts of boxers, oils of sports and landscapes
from the air, I have returned again and again to
the memory of those sunset images from Morar.
Living near Ben Lomond the dawns and sunsets
provide me with an ever changing drama of light
and mood. Now using my favourite medium,
watercolour, I try to capture the wonder of those
early days in Morar.
James Spence RSW RGI PAI
St Andrews from Kinkell Braes
Watercolour
18 x 25 inches
David Smith
R S W
I work in both oil and watercolour.
My approach to painting is dependant on the
subject. With harbour scenes for example, it is
somewhat spontaneous. As the painting
progresses, the composition becomes congested
and busy as strong design and bold forms are
complimented by vibrant colour.
In contrast, my Hebridean landscapes are more
minimal in composition, where vast open skies
dominate the land. I use a more sombre palette of
blues and greys in these paintings.
David Smith RSW
Hamnavoe
Watercolour
18 x 21 inches
Gregor Smith
R S W
V i c e
P r e s i d e n t
R S W
f o r t h e
W e s t
This is the Sound of Mull making for Oban from
Ardnamurchan. Good summer sailing.
My subject matter is mainly drawn from
surrounding landscape, seascape and coastal
edges. Colours, textures and changing weather
patterns provide the mood and atmospheres.
Sketch books and visual contact are vital. As I
work in printmaking, painting, both oil and
watercolours, then choices have to be made.
See our Quarterly Magazine No 12, which
features Gregor by visiting our Magazine Library.
Gregor Smith RSW
The Sound of Mull
Watercolour
9 x19 inches
Archibald Dunbar McIntosh
R S W
R G I
Having been born close to water, both the East
and particularly the West Coast of Scotland, I
have always been fascinated by fishing boats,
steamers, harbours and the many images created
by the shapes, colour and forms suggested and
associated within this area.
For me, they continue to evolve and surprise.
Archibald Dunbar McIntosh RSW RGI
Lanark
Acrylic
32 x 31 inches
Margaret S Rhind
R S W
I paint mainly in watercolour because I especially
enjoy the translucent qualities of this medium and
the ability to create depth by applying in layers.
My personal interest lies in expressing a sense of
time and place through colour and form in
landscape and in plant form. These, in all their
stages of growth and decay, combined with the
changing role and effect of man on the landscape,
intrigue me. This is what I explore.
Margaret S Rhind RSW
Winter Sun
Watercolour
29 x 20.5 inches
Derek Robertson
R S W
A view of the Tay from the artist's home village of
Balmerino. As snow began to fall on the old,
ruined pier the winter sun lit the flakes like golddust. For a second, the flakes paused on the oilydark surface of the river before they melted and
the surface of the water seemed to shimmer gold.
Derek is inspired by direct sketching in the field
and sees his work as a process - from brief and
characterful field studies done outdoors to
contemplative paintings produced in the studio
which lead to more reflective and imaginative
work drawing on elements of nature, folklore,
rural-industrial archaeology and personal
experience. He often works in collage,
assemblage and installations - frequently on
projects in collaboration with scientists,
environmentalists and other creative practitioners.
His work is concentrating more on engagement
with environmental subjects and the development
of a creative and collaborative approach to his
work.
Derek Robertson RSW
Ice and salt water
Watercolour and Gold Acrylic on Paper
89 x 110 cm
Lynn McGregor
R S W
My paintings are acrylic on board and are inspired
by my immediate surroundings. The sea is
prominent in much of my recent work, which has
been produced on Islandmore, an otherwise
uninhabited island on Strangford Lough, Northern
Ireland, where I am living and working at present.
My studio is close to the edge of the Lough and I
paint without sketches or photographs, hoping to
capture an immediacy in my work and to evoke in
the viewer something of my own emotional
response to the subject.
Lynn McGregor RSW
Light Breaking Through
Acrylic on board
61 x 61 cm
Peter Bourne
R S W
The visual relationship between glazed structures
and their contents has always been a fascination
for me.
How one sees the reflections and variety of
contrasting images is part of the creative process.
I love the way this medium works, the directness
of it.
I try to paint in a direct and simple manner to
convey the idea. I use figurative and often bold
rich colour.
Peter Bourne RSW
Glasshouse
Gouache
45 x 48 cm
James Cosgrove
R S W
“Beyond the Looking Glass” is from a group of
pictures called “A Series of Dreams”.
A narrative is unfolding in a confined space
(perhaps a stage) from which a flying dog and a
strange figure seek escape.
The dog with mechanical wings is inspired by a
Goya drawing 'El Perro Volante' which is inscribed
at the bottom right.
Living in Ayrshire and looking across to Arran and
Bute, the Firth of Clyde provides a constantly
changing variety of images and moods - the
channel busy with fishing boats, cargo vessels,
yachts and the odd frigate or submarine. Ideas
are collected through drawing, collage,
photography and text. These form a substantial
memory bank of images and circumstances which
feed into picture making. Themes are often
informed by the writings of such as Gabriel Garcia
Marquez, Freud and Jung, Bob Dylan and
'Theatres of the Absurd'. Recent works explore
random images which can fade in and out of halfremembered situations, dreams or childhood
reflections. Some figures are central to suggested
narratives, some are witnesses, others are
disengaged-in a world of their own making.
James Cosgrove RSW
Beyond the Looking Glass
60 x 80 cm
Helga Chart
R S W
R W S
A still life of collected objects. A favourite old jug
which belonged to my grandmother provides the
central motif. The bright tabletop is set against a
gloomy Scottish landscape enlivened with pink
fringes.
My watercolour work often draws on observations
made in the natural world. I make sketchbook
studies of animal and bird forms along with insect
and plant life. My intention is to use these forms in
a number of compositional ways and their
interpretation in the final painting may be wide and
varied. This free approach to the work is also
reflected in my use of water based mixed media
along with watercolour.
Helga Chart RSW RWS
Still Life Rosslyn Jet
Watercolour / acrylic
50 x 80 cm
Paul Murray
R S W
P A I
The painting consists of arranged objects and
surfaces which create a balance of physical
shapes and negative spaces. The composition of
objects, collected in the Middle East, is
constructed with layers of brushwork, drawing and
collage.
My landscape and still life paintings demonstrate
a delicate compositional balance of physical
shape and negative space. I attempt to create
compositions that develop through layers of
brushwork, drawing and collage as they move
between abstract and representational marks: the
drawn mark and collaged material are there to
emphasise the textures and patterns of the
observed object and scene.
Paul Murray RSW PAI
Chalice and Arabic Pots
Gouache and collage
81 x 86cm
David Sinclair
R S W
David studied Drawing and Painting at the
Glasgow School of Art under the tutelage of
William and Mary Armour, and David Donaldson.
Awarded a Post Diploma and a major travel
scholarship. A period of study followed in Holland,
Paris and London.
David Sinclair RSW
Distribution
Watercolour/tempera/silverpoint/chalk
29 x 21 inches
Gail Murray
R S W
My subject matter consists mainly of still life or
landscape, sometimes composed together or
separately. These reflect experiences, memories
and observations relating to stimuli, based on
personal objects, my garden, birds, animals and
the human form. Stylised, semi-abstracted
sometimes decorative imagery feature in my work.
Colour, texture and line are important elements,
the use of paint quality, mixed media, print and
collage playing an important part, as well as scale,
which can vary within the composition.
Gail Murray RSW
First Snow
36.5 x 34.5 cm
Robert Murray
R S W
R G I
My painting is a visual statement. The discussion
of theories, meanings or subject matter in a
painting is of no particular significance or interest
to me; it is not what, for me, painting is about - the
image is the 'thing'.
Robert Murray RSW RGI
March Light
48 x 41cm
Catriona Mann
R S W
V i c e
M A L L B P P V A S
P r e s i d e n t f o r t h e E a s t
I have just spent some time in Vietnam and this
work was inspired by temple interiors - prayers
written on purple strips of paper , red and gold
incense sticks ,smoke and fires and lucky
goldfish.
I am primarily a figurative artist. I draw, rather than
paint and derive inspiration from music, poetry or
prose and incorporate reinterpreted pieces of
writing that touch my imagination. Often I will
incorporate this with natural scenes- in a
seascape or landscape. I use water based paints
and pencils and work on mounting card which can
take plenty of punishment. If a piece is not
working it can be washed off and the ghost
becomes the basis for another work.
See our Quarterly Magazine No 9, which features
Catriona by visiting our Magazine Library.
Catriona Mann MA LLB PPVAS
Prayers, Vietnam
67 x 82 cm
Watercolour and Collage
Ian McKenzie Smith
C B E
H R A
P P R S A
P P R S W
Studied with Ian Fleming and R Henderson Blyth
in Aberdeen and with J McIntosh Patrick at
Hospitalfield. Met Kenzo Okada in Paris and
developed a lifelong interest in oriental painting
and zen philosophy, informed by the work of
American colour field painters of the 1950s.
Ian McKenzie Smith CBE HRA PPRSA PPRSW
Kozanji
Watercolour on Japanese paper
65 x 48 cm
Caroline Bailey
R S W
Landscape and still life are the predominant
subjects in my work. I am interested particularly in
the traces of human activity etched on the
wilderness. Preliminary work, some made in-situ,
form the basis of my paintings but only serve as a
beginning. A plan conceived at the outset of a
work is frequently eradicated by its completion,
each piece being the starting point for the next.
Caroline Bailey RSW
Upper Edinbane Fields
Water based mixed media
33 x 37 inches
Claire Harrigan
R S W
The key characteristics of my work are colour and
light.
I am not trying to recreate what is there,and
although the subject matter is important as the
instigator of the painting, gradually it becomes less
significant as the emphasis changes to composing
with colour, shape and texture.
Claire Harrigan RSW
Planter's Garden, Nevis
Acrylic and Oil Pastel
19 x 37 inches
George Gilbert
R S W
The objects in this still life are part of a collection I
have collected over many years which offer
endless opportunities for variations on a theme.
I have always been interested in painting
techniques and my preferred media are acrylic,
watercolour and pen and ink wash.
Generally the subject dictates the medium. I am a
realist and my main aim throughout has been to
respond to the subjects which interest me. I am
intrigued by the way light animates the objects in
my studio.
Similarly I am drawn to the buildings and harbours
of the East Neuk of Fife where I have lived for
nearly 40 years. The elements and the patina of
age lend them a character which challenges the
skill of the painter.
George Gilbert RSW
Merrylegs
Water-colour
50 x 73cm
John Brown
R S W
John’s solo exhibitions generally consist of a body
of new work which is thematically inspired by
travel. Following the tradition of many Scottish
Artists, the artist finds the light, colour and
landscape of Mediterranean countries richly
inspiring subject matter. Over the years this has
led to travelling as far as India, Mexico, Cambodia
and Zanzibar, but the familiar territory of Tuscany
and Catalunya continues to provide a wealth of
ongoing inspiration.
His paintings seek to recreate the spirit or mood of
the place, rather than pictorial representation.
This distillation of subject matter is routed through
stages of development towards the final piece and
importantly, by painting away from the motif.
John Brown RSW
Balcony San Lazaro Havana
Acrylic
32 x 30 inches
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THE MEFFAN
20 HIGH STREET, FORFAR DD8 1BB
Open: Tues - Sat 10am - 5pm
The 135th RSW Annual Winter Exhibition
will be held in the RSA Building January 2015
To find out more about the RSW, visit their website
OUR THANKS
We’d like to thank all of the artists for
contributing to our magazine and to give a
special thanks to Tina Rose.
S
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2014
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3rd ANNUAL OPEN SUMMER EXHIBITION

Transcription

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