CLAUSEN :: DE MENIS :: THOMAS :: SCOTT
A show of wall-based tridimensional pieces by Andrew Clausen (The Netherlands), Ivan De Menis (Italy), Laura Jane Scott (London) and Jon Thomas (Swansea).
Within weeks of reopening Configurate will be our first exhibition. We are really looking forward to sharing this exhibition with you.
Elfyn Lewis, David Mankin, Anna Somerville
7 March – 15 April 2020
Elfyn Lewis, David Mankin and Anna Somerville, three artists from three different countries, create work that is influenced by their natural surroundings. In their home countries of Wales, England and Scotland, they each develop a distinct painting practise concerned with a similar attraction to the textures and lights at play on the land and sea. Their gestural response to the landscape and their interpretation of elements of the natural world conveys memories of places, ideas of flows and changes in the earth and water.
15 February – 3 March 2020
Annie Mulvey graduated from Gray’s School of Art in 2017, she has exhibited throughout Scotland and internationally.
Her groundwork stems from our cultural obsession with keeping, including aspects of; conservation, preservation, tradition, and celebration of heritage along with the fragility of materiality through the effects of passing time, and neighbouring environments. Often her work references moments of natural destruction and decomposition from that of humans and organic matter and our protective processes to halt it.
Annie’s practice works between painting, drawing and installation pieces, usually creating her own structures to work on. Through her use of texture, structure and shape, the work strives to bring together the factual and the fantastical to question this relationship we seemingly have with the kept and ‘historical’.
Since graduating she has been awarded the Visual Arts Scotland New Graduate Award, the George Davidson Trust Art Scholarship and the &Gallery Exhibition Prize.
The development of this body of work has been supported by the South of Scotland Visual Artist and Craft Maker Awards funded by Creative Scotland, Dumfries and Galloway Council and Live Borders.
2 – 27 November 2019
1. a current of water below the surface and moving in a different direction from any surface current.
2. an implicit quality, emotion, or influence underlying the superficial aspects of something and leaving a particular impression.
I grew up in the Western Isles, and am drawn to exploring the space and light which is particular to these islands. I am largely led by the pursuit of ‘memory places’ and aim to evoke a sense of place through fluid paint effects which combine with graphic elements of annotation – the visual language of mapping, measuring and music. Grids, staves, elements of maps and tide tables recur in my work.
Where works have titles referring to specific locations, the intention is to draw on personal connections to these places in order to explore wider themes. My intention is not to render the topography of a landscape but to explore in a more abstracted way the relationship between the individual and the landscape that has shaped them, something you carry with you – a ‘geography of the mind’. My work suggests liminal spaces, edges, tidal lines – always shifting.
THE OPPOSITE SHORE
5 – 30 October 2019
The Opposite Shore is a series of new paintings and drawings which celebrate the crucial relationship between woodland and water, punctuated by geometric linear forms reminiscent of snow poles, street lights, signs, buildings, walls, windows, boardwalks or tree tubes.
This focus has its starting point in the landscape around Andrew’s studio, based initially on time spent observing and recording trees, man-made structures and water in various forms.
Andrew Mackenzie graduated with an MFA from Edinburgh College of Art in 1993, and lives and works in the Scottish Borders. His work has been exhibited extensively both nationally and internationally, and is represented in many collections.
7 – 28 September 2019
Jo Hummel’s work is characterised by a painted and paper collaged surface on which she employs spontaneous variations of space, colour and form.
Although her painting collages are physically engaged and materially driven the context is purposefully anthropological and Hummel’s works are informed by human habits and behaviour, with a particular interest in determinism and freewill just as much as formal concerns.
Hummel runs experiments where the process often determines the outcome and provides a safe arena for improvisation, a place where rational procedures can co- exist alongside intuition. In doing this she explores the unpredictable nature of intuition and spontaneity – her practice functioning as a simulation of decision making experiences which enable her to grasp, and make use of sensations such as anxiety or serenity. And it is via these conflicting emotional states of comfort, satisfaction, anxiousness, repulsion and so on that Hummel is able to tap into the
ubiquitously felt state of human uncertainty. The social structures we all exist in guide and interfere with how we feel and what we choose to do on a daily basis. Our social class, religion, gender and ethnicity all play a part in what we deem pleasant or unpleasant.
The nature of collage is that throughout its creation a work is in constant flux. The artist must negotiate the canvas by rearranging, choosing and adjusting, often over long periods and having explored hundreds, even thousands of the infinite possible outcomes. In this way the creative process itself is as significant as the final outcome.
Jo Hummel works from her studio on the Isle of Wight.
10 – 31 August 2019
Elaine Speirs was born in Johannesburg and moved to Paisley as a child. Her childhood experiences in and between these two places spurred an interest in the themes of fragility, contradiction and reinvention that recur throughout her work.
Speirs explores the stark contrast she observes between the rich contours of female personhood and the depersonalised portraits of women that appear in the public sphere. Referencing a variety of imagery – ranging from eighteenth century portraiture to contemporary photography and film – the work reclaims the fleeting moments of humanity Speirs glimpses in these images, establishing a tentative connection between the distant and the intimate, between the universal and the personal.
Beautiful Regrets has an uneasy coexistence of contradictory states: strength and vulnerability, loneness and hope, love and despair. Speirs examines these tensions by capturing fleeting moments of humanity with Franco Zeffirellis 1968 film Romeo and Juliet.
Speirs examines these tensions by employing a dynamic technique of wiping and layering that suggests the human process of erasure and reinvention. We are left with a series of momentary resolutions that contain both clarity and a sense of contingency.