Six Foot Gallery is proud to present our annual winter showcase, featuring a wonderful, diverse selection of art from Glasgow and beyond. The 2019 Showcase is sponsored by Crafty Distillery and Bon Accord Soft Drinks, who will provide refreshments at our preview event on Friday the 7th of December.
My enduring interests revolve around contemporary and historic art, cinema and technology. Over the last two years I have lived with my elderly grandmother who suffers from Macular Degeneration, a condition which results in blurred or no vision in the centre of the visual field. This experience has empathetically started to filter into my recent work. The filmic language of science-fiction, digital post-production protocols and clinical endoscopy have been conflated in recent paintings. The collision of this content seems to be acting as a vehicle that allows me to examine human frailty, hero culture and my own open-ended relationship to systems of belief.
Ashlynn is currently undertaking a masters in Art Psychotherapy studying in Edinburgh, Scotland. She is interested in working with children and adults with additional support needs as well as individuals with behavioural concerns and other diverse needs. Much of her work involves ceramics and printmaking processes. She has displayed her artwork internationally and recently finished her Bachelor’s degree at Bowling Green State University in Ohio.
Personality serves as the foundation for an individual’s behaviour and interactions with their surrounding environment. Theorist such as Eysneck, Cattell, Myers, and Briggs have developed traits used to categorize and improve understanding of personality. Interested in underpinnings of personality, my work examines how the traits perceived to make individuals unique are shared with so many others. Through collage and the printmaking process, portraits were created showing the overlap of these unique yet communal qualities. The audience’s interaction with the artwork highlights the limited and varying insight an outsider experiences when assessing someone’s personality.
Aurore Garnier is a French artist living and working in Glasgow. After gaining a Bachelor of Architecture degree she studied at the National Decorative Art School of Paris and the Mackintosh School of Architecture. Her work questions the limits between attraction and repulsion generated by the animal world. Being all at once trophy, corpse, memorial and ornament, taxidermy is a powerful symbol of paradoxical relations: It reflects an attempt of subjugation and sacralization through their reification. Every architectural space is measured relative to the human body’s dimensions. What do they become once uninhabited, or populated by animals? Her drawings deal with losing the notion of scale. The materiality of angles is developed in an ethereal spatiality; the streets lead to nowhere. Everything is a question of scale. She likes the moon, the climatic changes, the immensity of the universe and the tightening around the intensity of feelings. The smallness and magnitude of our cellular system.
My jewellery explores the relationship between jewellery and the wearer’s desire to touch and feel the pieces. I take inspiration from the way the body moves and connects with the world around it, exploring how repetitive movements, colour and different textures appeal to the senses.
I create pieces of kiln-formed glass. From my first encounter with fused glass at Glasgow School of Art, I became hooked on the discovery moment when the kiln is opened, revealing the changes that the combination of heat, gravity and time have wrought on the cut pieces of glass placed together hours earlier in the kiln.
In my studio in Kirkoswald, South Ayrshire, I am currently working with powdered glass which allows me to paint with colour and texture, rather than relying on slabs of single colour glass. With this approach, there is less uniformity between pieces, and each piece created is a unique work.
My contribution to the Six Foot Gallery Showcase 2019 are bowls from my “Vein” collection. Inspired by the veins of crystal and semi-precious stones in rock, each bowl is a unique combination of colours and is individually numbered.
Eilidh Morris is an artist and writer living in Dundee. They predominantly create paintings and drawings with expressive colour use and mark-making and an organic imaginative process. Mediums include acrylic, oil, watercolour and gouache paint, chalk and oil pastels, markers and paint pens. Across 10 years of making art, Eilidh has found constant change, exploration, self-analysis and self-reflection to be integral to their practice. “Drawing is taking a line for a walk” as Paul Klee said, and this is something Eilidh enjoys most in art, simply seeing how the hand freely moves with the subconscious. Alongside this intuitive process, Eilidh also enjoys traditional painting, especially portraits and scenes from places they have been on their travels, and reflective writing in the form of short stories and spoken word poetry.
My recent multidisciplinary work explores the anxieties hidden in our attempts (and failures) to connect with nature. Contrasting romantic pastoral notions and emotional identification with the landscape against an analytical gaze that seeks to interpret, classify and define it, the work questions the limits of our knowledge – of science, nature and ourselves. While my past practice has been largely focused on human relationships with man-made and industrial environments, this project investigates my own feelings of dissonance an environment we instinctively believe ourselves to be closer to, yet often feel uneasily distant from.
Clearly consists of a series of second-hand prescription glasses, transformed through processes that obscure their view yet seek to unveil their specific insights. The objects construct a fragmented portrait of a character, at once familiar and inscrutable. Making physical the notion of accessing another’s perception, these altered personal artefacts deny any satisfaction of such curiosity. Lens cloths paired with each set, printed with drawings, photographs and research material, represent efforts to make sense of this imagined, inaccessible vision.
I am based in Newcastle upon Tyne and I graduated from Newcastle University with a Master of Fine Art degree in 2008, I am currently training to be a Physiotherapist.
My work contains spatial anomalies to expose different perceptions, semiotic systems which are used to create a dialogue between the artist, the audience and the painting. The work uses the blank field as a domain, allowing empty spaces to interact in various ways with the spatial objects which themselves become a visible shape of misleading illusory distortion within the patterns. The intention is to demonstrate the interplay between shapes, forms and shadows to achieve a 3- dimensional effect. Performing the activity within the action of practice requires interplay between decision making, choosing which spaces to leave empty and which to fill.
I am trying to express ideas born in and reactions to the environments around me. I am continually trying to find ways to incorporate traditional materials and techniques into my practice to ground it in specific times and places, referencing the history of those places as a context from which my work comes. I paint what is around me, with as much of what is around me as possible, and try to personally make and source as much of the materials and tools as I can.
Through the use of technical and expressive methods, my practice deals with the cultural construction of the body. By combining printmaking techniques with intuitive mark-making, I aim to re-configure ways in which the female form can be consumed viscerally. Incorporating found imagery with projective painting and drawing methods allows me to renegotiate the body’s sense of subjectivity. This often results in multi-layered, mixed media works which contain depictions of ambiguous bodily forms. I deconstruct the fixed image to reveal the body’s sensual and multifarious nature which acts as a means of re-coding the visual conditions typically regulative of the body; the aim being to place it within a more positive realm of depiction. Highlighted is the paradox between culture’s ideological impositions and natural bodily instinct and impulse. By developing forms which do not follow logical criteria, but are based on subjective associations, I invite the viewer to become incorporated in the language of the reconstructed imagery. Implementing a fluid, direct and emotive form of painterly communication allows me to favour the body’s uncontrollable, biological elements over the paradigms which seek to streamline it.
I am interested in combinations and formal qualities of different materials, things which are weighed down, gloopy, welded together and married in a union which may or may not make sense. Visual drama, as well as visual balance, are important to me. I create a fiction in physical sculptures and artworks in order to explore a fiction – in doing so am I presenting an idea of the future? Current work and research revolve around this fact: The word ‘real’ can be found in retail. The marketing of reality through retail visual merchandising is something which I explore in my practice. Everything looks good but is ultimately empty, devoid of meaning, a merry-go-round of display, lighting and artifice with fake plants used as a selling tool, merging natural with manmade.
Kat Garbutt is a textile designer and artist who has recently graduated from the Glasgow School of Art. She uses woodblocks to produce colourful and one of a kind fabrics. Her passion for sustainable and ethically produced textiles is key to her work and her inspiration reflects this: looking at the natural world and manmade influence upon nature. Her process is a slow and considered one which looks back at textile history and traditional printing methods whilst at the same time using contemporary design techniques. She spent five months studying in Tokyo, Japan and her love of Japanese design continues to have a huge influence on her work.
Woodblock Printed Noren are a set of four Japanese Fabric Curtains inspired by the beautiful walled garden next to Studio Pavilion where Kat spent time in residency over the summer of 2018. The focus of this project was to experiment with the methods of carving and printing blocks whilst observing the natural division between a garden and indoors.
My mixed media paintings are inspired by the writings of Robert MacFarlane such as ‘The Wild Places’ exploring transitory happenings in the wild. I create dream-like inner and outer landscapes evolving around the idea of seeing the world and trying to fathom it. The works are created with therapeutic tactile processes worked and re-worked, peeled, scraped, only to add
paint again. The process reveals the structures and movement beneath the surface. The landscape lives and breathes alongside us. It is often described by Macfarlane as a living entity that feels and sees. “It watches us arrive, it will watch us leave”.
Katie Watson is based in North East, recently graduating from Newcastle University. Her practice examines the abstract qualities of banal forms in contemporary culture, the universal language of visual information, and how this is interpreted and processed. Her most recent work investigates a process of working through and consolidating various visual, diagrammatic languages into assimilated yet ambiguous compositions. A flux of information is whittled down to its most significant forms. Through a systematic and precise arrangement of shape, line and colour, her work appropriates the symbolic and diagramatic conventions of instruction manuals. All the elements of an explanation are there, but crucial pieces of information are removed. The juxtaposition of suggested structures and directions create a disorientating collection of directions, movements and processes. The decision to paint unapologetically onto bare birch ply, a favoured construction material, is a further nod to the flat-pack origins of the painting’s source material.
Lena is based in Glasgow, Scotland. She exhibited in New Contemporaries at the Royal Scottish Academy in Edinburgh 2017 and recently graduated from an MFA in Art and Humanities at Duncan of Jordanstone College of Art and Design in Dundee.
Movement and change are frequent themes in Lena’s work, which often inhabits the borderland between sculpture and painting. Hers is an ongoing process; the resulting art works traces of a journey with an open-ended destination. Leaving imperfections and accidents unchanged, the work is a document of time and continuous movement. Lena often paints with her fingers and shapes materials by hand. Working this way results in small-scale (hand-sized) works which strike up a dialogue with each other. When a body of work is brought together a narrative often surfaces.
“Bird” is an ephemeral piece made with found wood, a shape I found intriguing and brought home. Its creation was fast and highly intuitive and did not involve any conscious thinking, it was only after I had made it that I realised it was a bird. Birds for me symbolise journey, movement and change which is a recurring theme in my art.
With “Non-phallic sculpture”, I did not set out to make a feminist piece, but it’s probably not by coincidence that this piece was made in the year of the #metoo movement. Before it was finished I posted a photo of it on Facebook on International Women’s day, joking that in celebration of the day I had made a “non-phallic” sculpture, so that became its name. The round shape of the sculpture is soft and feminine but the sculpture as a whole has something insect-like and defensive about it, as if it is getting ready to pounce.
Linda studied Drawing and Painting at Duncan of Jordanstone College of Art, Dundee and subsequently gained an MA in the conservation of paintings from the University of Northumbria. She is a professional member of the Society of Scottish Artists, member of Edinburgh Printmakers and Glasgow Print Studio and a member of GSWA since 2018.
Over the last ten years, I have focused on topics from human emotions and facial expressions, ageing and movement of the human body, cultural identity, female identity, body freedom and sexuality. I am interested in theatre and film and have sought to create a cinematic theatrical quality in my images.
The images I created for my White Series were intended to depict a range of emotions and gestures to suggest the cultural and symbolic aspects of the colour white – innocence, life, death, purity and transience. Many of the poses and gestures derive from classical art – from Greek and Roman sculpture, Italian renaissance the art of the Baroque period. I am currently using photography, printmaking, drawing and mixed to continue my exploration of identity and human emotion and have also embarked on a series of images about a sense of place and journeys.
My collages are an exploration of shape, colour and texture. Expressive, textured and colourful, they reflect my fascination with the marks and patterns made by man and machinery on the countryside and the contours and colours of nature. Central to my work is random mark making with inks, paint, crayons and pencils on papers of varying thicknesses. When dry, these are ripped and assembled on canvas to form the basis of a pleasing composition. Working with the shapes and forms suggested, I add more paint, ink and so on, to create depth and often use metallic inks and paints to create points of interest.
I studied painting and drawing over a long number of years at part-time classes and summer schools at Glasgow School of Art, Strathclyde University and The House for An Art Lover, Glasgow.
Paul uses Ink, Pen & Gouache to create layered, fluid line art drawing from the depths of consciousness – illusions, delusions, lust, grandeur & existential problems – how the subconscious plays with the conscious, and the misty nature of human experience and thought. As such the work transmutes information drawn from dreams, lucid states, misrepresentation, flow states, the majesty of nature and androgyny.
Paul is fascinated by patterns, symbology, neuroscience and philosophy. Artistically his main influences come from comic book art – training with Charles Boyle as a teenager to draw with weighted focus for anatomy, & intensely studying the style of Jack Kirby, Frank Miller, Eric Powell and Mike Mignola. Later, an interest in MC Escher, Turner, Salvador Dali, Carmen Herrera and Francis Bacon would emerge and less of a compulsion to draw what is seen and rather what is thought to be seen. Other than personal tutoring and a GSA portfolio class, Paul has undergone no academic training as an artist – in fact as a teenager he was disallowed from pursuing art as he wouldn’t comply to the formatted structures.
I believe art is an inclusive form to help fuel self-expression, to create your own identity. Art can connect people, it has the influence to create change by giving people a voice. To communicate your own message.
My name is Rhona, I am 19 and I am still creating my message. I am currently studying at City of Glasgow College – Visual Communication, Graphic Design. I hope to then study an area of fine art to further broaden my practice and one day become an art therapist. Whatever you do make your mark.”
Glasgow Portraits is a photography project celebrating the lives of people in Glasgow.
I wanted to capture the spirit of Glasgow and the kind, open-hearted people who live here. I found this project a great way to connect with people in the community and capture the moment through a photo. I purposely wanted the images to capture the persons surrounding, showing the streets of where they were at that moment in time. Living in Glasgow and the people whom I’ve met here have affected my life in such a positive way and making this project has been very fulfilling.
Glasgow based artist Sophie Grindlay creates vibrant collages and sculptures of the chaos found in the details of her life. Exhibited internationally & awarded the Stanley Picker prize, Sophie is emerging as an artist and a mother. Everyday objects, recycled materials & humour decipher her ongoing struggles with identity, sanity, and raising a small feisty female.