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Thursday, 24 May 2012

Wilhelmina Barns-Graham in Perth


This appeared in The Herald Arts section on 19/5/12

A Discipline of the Mind: The Drawings of Wilhelmina Barns-Graham
Perth Museum & Art Gallery
78 George Street, Perth
01738 632488
www.perthfestival.co.uk
Until May 27

Wilhelmina Barns-Graham Porthmeor Studios 1947
© The Barns-Graham Charitable Trust
The 10-day-long Perth Festival, now in its 41st year, kicked off in style two days ago (Thursday 17 May) with the English Touring Opera’s Barber of Seville. 
Music fans can look forward to a jam-packed programme featuring a host of stellar names, including Nigel Kennedy, Jack Bruce, Chris Difford, Martin Taylor, Martin Simpson, Carol Kidd, Kassidy, the Royal Philharmonic Orchestra and the Berlin Symphony Orchestra.
In art terms, there are also a smattering of stars of the visual variety scattered throughout the Fair City.
One of the biggest attractions is a touring exhibition of drawings by Fife-born Wilhelmina Barns-Graham at the city’s art gallery, curated by leading British art historian, Mel Gooding. 
This year, 2012, sees the centenary of the birth of this slightly under-the-radar British artist from the St Ives Group. Up and down the country, there is a raft of Barns-Graham exhibitions taking place over the course of the year, leading to a reassessment of her legacy.
The Watermill Gallery in Aberfeldy is currently showing A Joy of Colour, a vibrant selection of Barns-Graham’s prints and some previously unseen original works.
A touring exhibition called A Different Way of Working leaves Inverness this weekend and travels to Wick, where it re-opens on May 26, while The Fraser Gallery in St Andrews – where the artist owned a second home until her death in 2004 – will mount an exhibition of her paintings, drawings and prints from June 9-30.
The centenary year ends with A Scottish Artist in St Ives at Edinburgh’s City Art Centre.
The St Ives group was a loose ensemble of artists who congregated in St Ives, Cornwall after the Second World War and included, Peter Lanyon (who was born in the area), John Wells, Patrick Heron and Terry Frost.
Wilhelmina Barns-Graham studied at Edinburgh College of Art in the 1930s and moved to Cornwall in 1940.Together with the likes of Lanyon, Frost, Heron, Naum Gabo,  Roger Hilton, Ben Nicholson and Barbara Hepworth, she worked at the epicentre of the British Modernist Movement.
This exhibiting pulls together over 50 works spanning Barns-Graham’s long career from the 1940s to the 1990s. The subjects she turned to time and time again include landscape, rock formations, glaciers, wave studies and abstract works. 
According to Maria Devaney, Principle Officer (Art) at Perth & Kinross Council, Barns-Graham did not set much store by her drawings. 
“She saw them as plans for bigger work, but at the same time viewed them as an expression of her thoughts. The phrase, ‘a discipline of the mind’ was a quote taken from her description of how she viewed drawing.”
Barns-Graham maintained her connection with St Ives until the end of her long life and after inheriting a house in St Andrews from an aunt, from the 1960s, she split her base between Cornwall and Fife. 
Both coastal locations greatly informed her work. As this survey shows, she was fascinated by the recurring patterns in natural forms around the coast and water. Glaciers and ice held a particular fascination and the work on show here reveals a delicate beauty in terms of pattern and colour.
Aside from the graceful beauty of Barns-Graham’s work, there are several art treats to be savoured in Perth over the course of the festival, including The Perth Art Trail, which takes place next weekend and Introducing Fergus & Meg at the Fergusson Gallery. The latter exhibition will give a lift to anyone with an interest in the exuberant pairing of JD Fergusson and Margaret Morris, artists and lovers who shared a passion for each other as well as a love of dance and art.
The personal collections of both Fergusson and Morris are now held in this fine gallery and there is an intimate feeling of being invited into Fergus and Meg’s inner sanctum when you wander around the space.
One must-see section of the current display focuses on Morris’ unconventional childhood. Groomed for stardom from a young age, she was home-schooled and spent much of her young life touring with Shakespearian companies.
This display showcases over 30 childhood drawings from around the age of five to accomplished costume designs dating from her late teenage years.
Frames Gallery on Victoria Street also succumbs to the power of dance with its Festival exhibition, The Art of Dance, which explores all aspects of the dance through photography, painting and printmaking. This special festival exhibition features the work of Muriel Barclay, Peter Nardini, Madeleine Hand, Dave Hunt and Tim Cockburn, all of whom have a particular fascination with dance and dancers.

End of the Glacier by Wilhemina Barns-Graham
© The Barns-Graham Charitable Trust

Phillip Reeves, Lis Rhodes & Janet Melrose/Jenny Matthews


Gallery Round-up
From The Herald Arts section19/5/12
Philip Reeves RSA PPRSW RGI RE
Cyril Gerber Fine Art
178 West Regent Street, Glasgow
0141 221 3095
www.gerberfineart.co.uk
May 24 - June 14


A couple of years ago at an exhibition of Philip Reeves’ prints in Glasgow Print Studio, a Brazilian friend (who has lived in Scotland for more than a decade) asked me why artists like Philip Reeves were not more revered by journalists covering the art scene in Scotland.
“In Brazil he’d be treated like a demi-God,” he told me. “Man, he’s a master at the top of his game!”
That much is true. Reeves’ quietly hypnotic prints are underpinned by a sure hand and an almost hypnotic attention to detail. In this mini survey of his work at Gerber Fine Art, which includes some of his early paintings and drawings from the 1940s and 1950s, there is a chance to observe the fine draughtsmanship and perfect pitch in composition which lies beneath the abstract forms he creates today.
It gives a real insight into Reeves’s development as an artist at the peak of his powers.
Reeves studied at Cheltenham School of Art and the Royal College of Art in London before moving to Glasgow in 1954, to take up a post at Glasgow School of Art. 
He has become an important part of the contemporary British art movement, leading the way in British printmaking today. 
Reeves talks of his fascination with details, such as tiling on the walls of Glasgow’s public wash rooms when he first came to the city. It is this ability to notice the composition and construction of the everyday that Reeves has taken beyond the source of visual stimulus to hone and develop an eloquent and personal language of his own.
The new works are as fresh and exciting in the spontaneity as the mark making of the early works.This exhibition provides a glimpse into Reeve’s method of selecting and distilling form into uncluttered abstractions in which he reconstructs fragments of moments in time and places. This is as close as it gets to seeing with the eye of a Modern Master.
Lis Rhodes: Dissonance and Disturbance
Tramway 2 Gallery
Tramway
25 Albert Drive, Glasgow
0845 330 3501
May 25 – June 24
Avant-garde filmmaker and artist, Lis Rhodes, has exhibited widely at film festivals over the last three decades, but rarely within a gallery setting. A notable exception was in 2009, when she exhibited Light Music (1975) in the oil tanks at Tate Modern. 
This opportunity to her ground breaking work in the cavernous space of Tramway, newly vacated by GI, throws a bonus ball to anyone interested in the development of filmmaking as an art form.
Since the 1970s, Rhodes has been making radical and experimental films that challenge the viewer to reconsider film as a medium of communication and presentation of image, language and sound. The exhibition, which takes it’s title from Lis Rhodes' text Dissonance and Disturbance, presents films that encompass performance, photography, composition, writing and political commentary.
Rhodes makes no clear differentiation between form and content. Total immersive and emotional involvement of the audience is integral to the work. She includes fragmentary passages of typeset, handwriting, strips of film negatives, geometric shapes and documentary footage. Soundtracks fade in and out, leaving long passages in silence and others overlaid with a multiplicity of voices.
In Dresden Dynamo (1972), a film made without a camera, the physical marks made by Rhodes onto the celluloid stretch where the projector reads the optical soundtrack, resulting in sound drawings in which what is heard is seen and what is seen is heard. Light Reading (1978), has been described as a new direction for film, a technical and aesthetic tour de force of rapid fire editing, myriad techniques and a text which both manipulates and questions the structure of language and representation. 
Rhodes is also showing her most recent works In the Kettle (2010) and Whitehall (2012), together with A Cold Draft (1988) within a two-screen installation for which she is creating a shared soundtrack.
Jenny Matthews & Janet Melrose RSW
Union Gallery
45 Broughton Street, Edinburgh
0131 556 7707
Until June 4, 2012

Three Poppies by Jenny Matthews

It is a human impulse to make connections, but when it comes to looking at and appreciating art, then this impulse becomes an imperative.
The connections in this beguiling exhibition at Edinburgh’s Union Gallery practically leap from the walls as it features the work of two women who also happen to be best friends. Janet Melrose and Jenny Matthews first met in 1976 as 11-year-olds at the Royal High School in Edinburgh. The plan they hatched back then was to start their own art movement when they grew up. 
While the art movement didn’t materialised, they have followed similar paths and both now work as professional artists producing gentle, beautiful paintings inspired by the natural world.
After leaving school, the two friends went on to study drawing and painting at Edinburgh College of Art, where Jenny veered towards botanical illustration under the tutelage of Dame Elizabeth Blackadder, and Janet studied with renowned wildlife artist, John Busby.
Janet was recently elected awarded the honour of being an elected RSW by her fellow artists of the Royal Scottish Society of Painters in Watercolours. She was also a finalist in the 2008 Aspect Prize. 
She describes her paintings, which are mainly inspired by the natural world around her home in rural Perthshire, as ‘accidents which have waited to happen...’ The idea of pilgrimage has crept into her recent work and there is a very real sense of exploration in her pared down paintings.
Jenny’s work is familiar to hundreds of thousands of people who buy greetings cards adorned with her exquisite botanical illustrations. Her work is widely collected and the author Ian Rankin is one of her biggest fans.
Both painters create work inspired by the world around their homes, with very different results. A must-see show for the merry month of May if you are in the Capital. 
Visiting the Temple by Janet Melrose



App Tells Clearances History As It Was

This Travel feature appeared in the Sunday Herald on 20.05.12












“The townships in every strath and glen, and on every hill, which once teemed with life, are now desolate and silent; and the only traces visible of the vanished, happy population are here and there, a half buried hearthstone or a moss-grown graveyard.”
Rev Donald Sage, circa 1818


Timespan Museum & Arts Centre in Helmsdale - the starting
point for The Museum Without Walls Clearances Trail App

The beautiful Strath of Kildonan in Sutherland on Scotland's
north east tip













THE week before the Mackay family first set foot on the Strath of Kildonan’s broom-covered slopes, my husband, David, and I attended a parents' evening with our 10-year-old son, Ciaran. 
As we sat in our small plastic seats basking in the reflected glory of our son’s seemingly effortless glide through primary six, we were suddenly jolted by a note of negativity.
“So, Ciaran,” said his teacher, “why are you dragging your heels with reading The Desperate Journey?”
Our young genius wriggled in his seat. “I dunno,” he replied. “I just haven’t got into it.”
“Well,” said his teacher, “sometimes if you persevere with a book past the first few chapters, you get a lot out of it. I think you’d really like it.”
Now that the story of Highland Clearances – one of the most controversial episodes in recent Scots history – is firmly rooted in the curriculum in Scottish schools, Kathleen Fidler’s book The Desperate Journey has become a standard textbook for children in primary schools studying the subject.
The novel, set in 1812, merges fact and fiction as it tells the story of the fictional Murray family’s arduous journey from from Culmailie in Sutherland, where they were cleared from their cottage to make way for sheep, via Glasgow to the Red River Settlement (now the city of Winnipeg) in Canada.
This fictional account echoes the real-life experience of hundreds of other families from the Highlands who ended up in north America.
It seemed like a fine case of educational happenstance that the Mackay family was about to travel to the same area where The Desperate Journey began now that a new 69p App from iTunes looks set to reclaim the landscape and history of one of the most beautiful glens in Scotland.
Ciaran’s teacher thought so too. Gold stars all round... 
A week later, Ciaran and his sister Mia, aged eight, are standing on the site of a ruined long house at the former township of Marrel in Sutherland, just like one from which Davie and Kirstie Murray from The Desperate Journey were evicted. 
“Mum,” said Ciaran, “if you didn’t know what you were looking for, these would just be stones. But people actually lived here!”

My children, Mia and Ciaran, on the site
of a ruined long house – iPhones at the ready


We are in the Strath of Kildonan, a five hour drive from our home outside Glasgow, with Jacquie Aitken, heritage officer of Timespan Museum and Arts Centre in Helmsdale. Jacquie is the driving force and ‘author’ of a new Clearances Trail App called Museum Without Walls, which went live yesterday (May 19).
The App has been developed over the course by Timespan and funded to the tune of £22,407 and £45,900 respectively, by Museums Galleries Scotland and The Heritage Lottery Fund. 
The aim of this unique App is to merge mobile digital technology with Timespan’s vast treasure trove of photographs, old maps, and material relating to the history of this area to give virtual and actual visitors a hands-on and interactive trip around 10 key locations in the Strath of Kildonan.
It will also prepare the way for the commemoration of the 200th anniversary of the clearances from the Strath in 2013. Thousands of visitors are expected to travel to this area from Canada next year. Many of them will be descendants of the original crofters, who settled in the city of Winnipeg in Manitoba.
With Jacquie as our ‘actual’ guide on the 17-mile-long trail, which starts at Timespan – a former curing yard for the herring industry – and ends at Kinbrace Cemetery, our eyes are opened not just to the beauty of the place, but also to its history.
The green and fertile Strath runs north west from Helmsdale for twenty miles. Although there is a railway line which was built in the late nineteenth century, today there are very few houses. Two hundred years ago it was a different story. A relatively large population lived in small scattered communities called ‘townships’ throughout the glen, as they had done since the Bronze Age.
The App trail starts at sculptor, Gerald Laing’s Emigrants’ 10ft-high bronze statue in Helmsdale’s Couper Park. Erected in 2007, it depicts a Highland family leaving their home and looking out to the North Sea to an uncertain future.
It is a poignant place to start our own journey of discovery. 
The village of Helmsdale, Jacquie tells us, was designed and built in the early part of the nineteenth century by landowners of the Sutherland Estate as part of so-called improvements to encourage displaced tenants to take up fishing at the time of a herring boom. 
“It didn’t quite work as they had planned,” she tells us. “Many crofters didn’t take to the sea and skilled fisherman from Moray shire had to be brought in to teach the men how to fish. Many men preferred to work as coopers, curers, smiddies and labourers.”
As we drive on the single track road out of Helmsdale, Jacquie explains that in 1811, the population of the Strath was 1,574. “This is an area which had been lived in for more than 2000 years,” she explains. “Between 1813 and 1819, the area was forcibly cleared of almost all its inhabitants. Many went to live in the new settlements such as Helmsdale, but others decided to leave Scotland forever.”
Jacquie draws our attention constantly to aspects of the landscape which we are looking at, but not really seeing. “Do you see these stone walls?” she asks Ciaran and Mia as we climb the slopes of the ruined township of Kilphedir.
They nod. It is difficult not to see these dry stane dykes as they are everywhere. “They are sheep pens,” she tells us. “If you look closely, they enclose a huge area. At various points in the walls, there are little gaps. They are ‘sheep creeps’ to let the sheep in and out.”

Ciaran and Mia on the site of an old corn-drying kiln
once used by crofters who lived at Kilphedir 


“Why sheep?” asks Ciaran. “Well, there was a war on,” Jacquie replies. “The soldiers needed warm woolen uniforms so the price of wool was rising all the time and the landowners knew they could make a lot of money from sheep.”
Our two children, like most kids their age, are slaves to digital technology and Ciaran quizzes Jacquie about how the App will work while snapping away on my iPhone. At Kilphedir, which is location three on the trail, Jacquie tells Ciaran and Mia to stand in what looks a hole in the ground on a hillside. “What do you think this is?” she asks.
They look blank. “It’s a corn-drying kiln,” she explains. “The crofters would smoke their corn here and they were often the warmest places in the township, which meant that they were used as gathering places. Sometimes, they were even used as schools.”
Later, we discover that a kiln at Kildonan, further up the trail, was even used as an illicit whisky still. 
The 17-mile-long trail from Hemlsdale to Kinbrace, is aimed at people using cars and bicycles although it can be done on foot. 
“We’re not encouraging people to visit the sites in the landscape as there are no public footpaths,” explains Jacquie. “The idea of the App trail is that users can access information and images, at the roadside, about sites they can see from each waymarkers and sites hidden from view further away. 
“Visitors will gain a much fuller understanding of how the landscape has changed around them, especially from the later 18th century to modern times. 

The App is an historical
treasure trove


“The Strath is really beautiful in the summer time, but this is when the vegetation, most notably bracken, obscures the old township remains. The App’s new collection of images were taken in November when the vegetation was much reduced, making it easier to see and photograph the old ruins.”
The detail in the App is exhaustive. The story which caught my attention was the one about Catherine McPherson from Balnavaliach, who immigrated to Canada with the first party from Kildonan in 1813. 
Catherine, we are told, nursed the sick after typhoid broke out aboard the ship which took the Highlanders to Canada before surviving a severe flood that carried away her log-built home. 
On board the ship, Catherine met Alexander Sutherland of Gailable and they married in 1814. The couple were allocated Lot 10 at the Red River Settlement by Lord Selkirk, who had offered land to the displaced Highlanders in Canada.
On the App, you can read passages from letters by Catherine’s brother William, writing from Scotland to their brother John at the Red River Settlement in 1815, listing items such as ‘black and white sewing thread’ and ‘three dozen of several kinds of forks’ which he has sent with members of the second party traveling to Canada.
The Sutherlands, we are told, had one child John, who was appointed Manitoba’s first senator in 1871. Alexander and Catherine both died within months of each other in 1867 and in a poignant echo of their shared history in two different continents, they are buried in Kildonan Cemetery, Winnipeg.
It took me and my family the best part of a morning to explore the Strath of Kildonan, but the insights offered up to us that day still linger on in the imagination. That night, Ciaran and I started to read The Desperate Journey together. “Mum,” he said, after a few chapters. “This is a great story. Imagine if it happened to us...”
The Museum Without Walls Clearances Trail App costs 69p and is available for download for iPhones, iPads and tablets. The App includes GPS navigation, historic map layers, 3-D longhouse illustrations, the audio and visual story of the Clearances, locations of all the townships and related sites of interest in Kildonan, as well as a game for young people using QR codes to collect items to put into an emigrant’s kist. iPods are available to hire from Timespan Museum and Arts Centre in Helmsdale.

Helmsdale is a two and a half hour train journey from Inverness. It takes one and a half hours to travel by road from Inverness to Helmsdale.
Gerald Laing's large bronze
sculpture, The Emigrants,
looks out to sea high above
Helmsdale
Information on an old gravestone at Kinbrace Cemetery
is accessed digitally

Monday, 21 May 2012

A Wee Light Filled PS for my Dad


Painting with light

(From The Herald magazine)
A church building seems an appropriate place for a pair of stained-glass artists to live... 
© John Young / YoungMedia 2012
And when Susan Bradbury and her partner Paul Lucky expressed interest in buying one in the Ayrshire village of Kilmaurs in 1987, the Kirk responded enthusiastically.

Constructed as the Glencairn Parish Church in 1865, the building had become obsolete and the couple's plan to convert it to a home and artists' studio appealed to church officials, who felt their involvement in stained glass provided a link to Glencairn's ecclesiastical past. "The funny thing is," says Bradbury now, "there actually was no stained glass in the building."
The couple bought it anyway and set to work converting it, removing fire escapes and offices but leaving the structural fabric intact. Researching the church's history, they discovered that stained glass had featured in the original plans, but proved too costly to install.
"There were two large rose windows facing each other in the area which is now our living area and which was the part of the church where the congregation sat," says Bradbury, "but like all the windows in the building there was frosted glass in them."
Today, the upper floor of the church – now the couple's living area – is bookended by those two rose windows, one of which has a Bradbury/Lucky stained-glass design titled Cosmos.
To this "daughter of the manse", visiting the couple's home and studio feels like a homecoming of sorts. The last person to preach here was my late father, the Rev Donald Patience, who in 1963, aged 35, came to minister to the newly joined St Maurs-Glencairn Church. At first, he preached in the two churches of St Maurs and Glencairn. By 1967, however, it was decided it would make fiscal sense to convert the "younger" building, Glencairn Church, into a church hall and retain the older, more historic St Maurs Church, originally constructed in 1600.
There is a story which has passed into Patience family folklore, which has it that during the refurbishment of Glencairn into a church hall, and unbeknown to the men who were working away below, my father decided to have one last quiet moment in the pulpit before it was removed.
Unfortunately, nobody had told him that the flooring of the pulpit had been taken away. The next thing Dad knew, he had disappeared into the boiler room below with a resounding thud. The cry went up: "The meenister's awa'!"
He escaped with a very bad back sprain and a new anecdote, which made its way into many a children's address over the years to come.
Being in Bradbury's studio brought memories flooding back, especially now that both my father and my mother, Flora – a redoubtable meenister's' wife if ever there was one – are sadly no longer with us.
During our childhood, my older brother, Charles, and I spent many hours in this building – at Sunday school, at functions, at all-night sponsored Bible read-ins, at the Youth Fellowship, playing badminton, hanging about waiting for my parents to stop talking. The minister was always the last to leave. Those badminton and Sunday school sessions took place in what is now the artists' living area, and while we are sipping tea there and swapping stories about the building and its past life, Lucky draws my attention to the sanded floorboards, where the vague outline of a badminton court can just be detected.
As the Stained Glass Design Partnership, Bradbury and Lucky have lived and worked here for 25 years now, producing windows which have found their way into churches and public buildings across the UK. High-profile commissions have included work on restoring stained glass in St Giles' Cathedral in Edinburgh, the Burns Memorial Window in Alloway Kirk, an expanse of glass larger than a tennis court for the Norwich Union Insurance Group in Norwich and a major commission by Boyd Tunnock, of confectionery firm Tunnocks, in memory of his parents for Uddingston Parish Church. Most recently, Bradbury has produced 10 stained-glass windows for Cardross Parish Church, in memory of Andrew Scobie, who was the minister there for 45 years until his death, aged 75, in October 2010. He was one of the kirk's longest-serving ministers in a single parish.
The stained glass was commissioned by Scobie's family and funded by relatives and a host of donations. For Bradbury, it was rather a special commission. "When you make windows in memory of someone, you get close to the family and to the subject," she says. "In this case, it was a little bit different as I knew Andrew personally, so that makes it even more special.
"I first met him in 1997 when he was a member of what was then called the Church of Scotland's Art and Architecture Committee. Paul and I were commissioned to design and make an entire scheme of stained glass for Sherbrooke St Gilbert's Church in Glasgow, after the original windows were destroyed by a fire. Andrew was very supportive.
"His wife, Jeannette, contacted me not long after he died to say the family wanted me to design a set of windows in memory of Andrew. She said he had always wanted to put stained glass in the back windows of the church and that he 'wanted Susan Bradbury to do it', which was a lovely thing to hear."
The Cardross windows are, she explains, of unusual dimensions at a foot wide and a metre high. "They have been inspired by the words of two hymns, one written by Andrew himself, and one which he sang on his last Sunday in church."
The new windows at the back of the church are inspired by the hymn the minister wrote, called Cardross. On these windows, the artist has etched the phrases, "Look Forward in Faith", "Look Forward in Hope" and "His Purpose is Love" using specially layered handmade glass.
Faith is represented by a flow of golden light, Bradbury explains, while hope is marked by the traditional colour of green and love is symbolised by royal purple. "The purple colour escapes from its bounds as if to remind us that love permeates all," she adds.

In the magical hands of Susan Bradbury...

On either side of these pieces, one wall has a window which has the theme of peace, stylised by a white dove. On the other side, joy is a flutter of uplifted wings. The two related designs both bear the same words from the hymn which Jeannette Scobie says her husband "sang with gusto" on his last Sunday leading worship in Cardross: "You shall go out with joy and be led forth with peace."
"After he died, I wanted to do something in my husband's memory as minister of the church he loved," explains Jeannette. "He wanted to make the church a beautiful place to worship. He loved colour and these windows are just beautiful."
Although she had seen the work in progress, Jeannette Scobie didn't see the newly installed windows until the beginning of this month, at a Palm Sunday dedication service led by the former Moderator of the General Assembly of the Church of Scotland, the Very Rev Dr John D Miller. The two hymns which inspired the new windows were sung by the congregation, and the church's millennium peal of bells, lasting some 15 minutes, rang out.
It was, reports the Rev David P Munro, locum minister for Cardross Parish Church, "a joyful and memorable event".
Amen to that. And to all the dedicated Kirk "meenisters" who, like my father and Andrew Scobie, have now walked into the light, with joy, and in peace. 
My handsome dad, Rev Donald Patience
 in the 1960s (1928-2004)
PS When my dad died in 2004, my mum, Flora, an avid reader of The Herald obituary pages (as was my father) took me task several times for not writing an obituary for him.
At the time, I had two very small children and we had just moved into our newly refurbished house. The time passed and it never happened.
Now, with my mum also gone, I found a wee place for my dad in his favourite newspaper. This was a very emotive piece to write as I hadn't been back to Kilmaurs since we sold our mum's house last year. I hadn't been in the building which Susan and Paul now live in for more than 30 years. It was where I had my first kiss, thanks to Postman's Knock at the Youth Fellowship Disco...
So many of my childhood memories were centred around that building, which is a very restful place to visit, partly due to the present incumbents' presence. But buildings are what people make them and I'm proud my dad helped to shape a little bit of this particular building's history. Mum is probably nudging him in heaven and saying: "Donald, she took her time... but she got there in the end."

Friday, 18 May 2012

George Wyllie & The Midnight Hour


GEORGE WYLLIE
Artist, writer, and scul?tor
Born: December 31, 1921
Died: May 15, 2012

(Appeared in The Herald, May 17, 2012)
By Jan Patience

George Wyllie and his first mate, Daphne

George Wyllie, who has died aged 90, will be forever associated in the public’s mind with what his ‘social sculptures’, The Straw Locomotive (1987) and The Paper Boat (1989-90).
When asked in his last ever interviews late last year what his personal favourite was among the thousands of artworks he had created during a five-decade long career as an artist, he declared: “I like my little spire. My little vertical wand responding to the earth and the air.” 
As a young sailor, Wyllie walked among the charred ruins of the city of Hiroshima with some shipmates, and it sparked a lifelong concern for environmental issues. His subsequent friendship many years later with the German conceptual artist Joseph Beuys, also founder of the German Green Party, cemented his approach to creating all his art.
Wyllie erected his spires in the most unlikely, yet apposite places. Locations include The Lecht (Cosmic Reach) and the site of the old Rottonrow Maternity Hospital in Glasgow (Monument to Maternity). He even had his own portable spire, which he wore slung over his back like a rifle.
In 1990, he placed a spire on Gruinard Island in the western isles of Scotland to mark its official ‘decontamination’ from deadly anthrax spores after 50 years. His plaque at the bottom read: “For air, stone and the equilibrium of understanding. Welcome back Gruinard.”
George Ralston Wyllie was born to Andy and Harriet (Harry) Wyllie in Shettleston, Glasgow, on the last day of 1921. It was, he said many years later ‘a good year’. He was named after his grandfather and for many years, his family and friends called him Ralston. In his artist persona, he was just ‘George’.
Encouraged by their mother, who had artistic leanings, Wyllie and his younger brother Banks, were taught how to play the ukelele, how to draw and paint and how to dance. “People liked ‘our Harry’, Wyllie said many years later in a recording made for the British Library’s Artist Lives series. “She was full of vim and zest and I was her bright-eyed boy.”
Music and art was always in the background for George Wyllie. The family moved to the Craigton area of Glasgow when he was a little boy and he grew up in the shadow of the shipyards. His father was a rate fixer for a machine tool engineering company on the Clyde  and the young George was much enamored of cranes and model aeroplanes. 
While still at school, he was offered a job by Sir William Arrol & Co in the crane building department on the strength of drawings of model planes and cranes he had built in his spare time. His father, however, forbade him from taking the job on the grounds it was an’ airy job’ and he would be vulnerable should another slump in the economy happen.
Instead, his first job was a ‘safe’ one designing man-holes in the Post office engineering department. He escaped this safe job by joining the Royal Navy. He went to war in 1942 and it was during a spell of leave that he met his wife Daphne Watts at a dance in Gosport. They married in September 1944. Their lifelong romance lasted until her death in 2004.
Wyllie remained at sea until 1946 and when his war ended, he sat a civil service exam and became a customs and excise officer in Greenock. A promotion saw him moved to Northern Ireland, where he worked on the land boundary patrol across the border. 
The family, which by 1954, consisted of daughters Louise and Elaine, returned to Scotland and the Wyllies set up house in Gourock.
Music had always been in the background for Wyllie and he played double bass with his band Clubmen with Pauline around pubs and clubs in the area. In 1965, he decided it was ‘time for art’, which had always been ‘an extra thing’ in his life. 
He often joked that being accepted by Glasgow School of Art’s jazz band was the closest he got to an art training, but despite the humour in his work, Wyllie was deadly serious about schooling himself and finding his metier. 
He attended welding classes in Greenock and one of his first sculptures from this period was bought by Ferguson’s Shipyard. It seems commonplace now, but he recycled materials in a way which no artist had done before. A pile of old car bumpers became a series of fish, for example, many of which have come to light during a recent search for a forthcoming retrospective of his work.
He left the customs service in 1979, at the age of 58, and entered into a four-decade long career as an artist, writer and scul?tor. The question mark entered into his own personal lexicon because it was ‘too important to be left to the end.’ 
In the 1980s, through the late Barbara Grigor, a champion of many a Scottish artist, Wyllie met the American kinetic artist, George Rickey, who invited him to work with him in America. 
He later described this experience as a ‘great art release’. He was also hugely influenced by the German artist, Joseph Beuys, after meeting him through Edinburgh gallery owner, Richard Demarco. 
Wyllie’s award-winning play about the iniquities of the world banking system, A Day Down a Goldmine, was produced several times throughout the 1980s. The two-handed play featured Wyllie as a character called His Assistant (Goldbunnet) alongside acclaimed actors such as Russell Hunter and Bill Paterson.
In 1987, he attracted international attention with his Straw Locomotive, which hung from the Finnieston crane in Glasgow before being burned in nearby Springburn in a Viking Style funeral.
Two years later, his Paper Boat was seen by millions as it sailed around the world from Glasgow to New York and back to Scotland. It even made it onto the front page of the Wall Street Journal when it berthed at the World Financial Center in New York in 1990. Wyllie had even added a raft of moral quotations from Adam Smith specifically for its US trip.
As one commentator said yesterday of his art, ‘You didn’t need to be an art critic to get it - everybody got it.
Wyllie was creating work well into his 80s, but in recent years, a combination of factors, including failing eyesight and mobility problems, led to a series of falls and he moved out of his Gourock eyrie overlooking the Firth of Clyde and into The Mariners, a nearby care home for retired sailors.
Faced with the twin challenge of what to do with their father’s treasure trove of artwork and how to celebrate his legacy, Wyllie’s daughters Louise Wyllie and Elaine Aitken, set up The Friends of George Wyllie in 2011.
Friends, or ‘Chums’ of George include his old friends, artists Dawson and Liz Murray, Neil Baxter, of the Scottish architecture body, the RIAS and filmmaker, Murray Grigor, whose award-winning film 1990 film about Wyllie, The Why?s Man, has recently been re-released on DVD. 
This year, 2012, sees a year-long celebration of Wyllie’s artistic legacy under the banner The Whysman Festival. Just last week, it was announced that his work was set to inspire a new generation, thanks to a major £158,510.00 award from the Year of Creative Scotland, 2012 and its First in a Lifetime Creative Experiences initiative.
Knowing that so much effort and work was going into celebrating and promoting his work gave George no end of pleasure at the end of his life.
As his daughter Louise said just after he died in hospital in Greenock on Tuesday night, “It was as though midnight had come and it was time to leave.”
George Wyllie was predeceased by his wife Daphne, and his younger brother Banks. He is survived by daughters Louise Wyllie and Elaine Aitken, as well as grandsons, Calvin and Lewis, and grandaughter, Jennifer.
Bill Paterson, George Wyllie & Tony Gorman in A Day Down A Goldmine


Rory Gallagher's guitar lives on...


The Tangible & the Spiritual 
Mansfield Park Gallery
5 Hyndland Street Glasgow
May 19-June 16
3 Rory Headstocks
This neat pairing of the work of artists and friends, Peter Howson and Alec Galloway, in one small exhibition as part of Glasgow’s West End Festival is definitely one for the art diary.
Howson's work on paper and canvas is famously marked by his own ongoing quest for meaning and redemption in the face of dealing with his own personal demons, while Galloway, best known as a glass artist, takes existing objects and reconfigures them to make new meanings. 
The Tangible & the Spiritual is likely to attract both art lovers and musicos, as Galloway has produced a unique ‘portrait’ of guitar legend, Rory Gallagher’s 1961 Fender Stratocaster.
The Inverclyde-based artist was given unique access to the guitar by the rock legend’s brother Donal Gallagher, who was also his roadie and manager until his death in 1995.
With his flowing locks and trademark plaid lumber shirt, Gallagher, who played all over the world, was a regular at the Apollo in Glasgow both as frontman with his band Taste and as a solo artiste. He even played the first Highland rock festival in Inverness Caley Park in 1970. The crime writer Ian Rankin references Rory in his Rebus novels and is a huge fan.
“Handling that guitar was a Holy Grail experience,” recalls Galloway, who has always played in bands. “Throughout his career, Rory faithfully relied on this one instrument which is for £1 million and now in storage and unplayed since his death in 1995.
“I met Donal at Nordoff-Robbins fundraiser in Glasgow, and when I asked if I could paint the guitar, he invited me down to his house in London. It was quite a moment when he came in with the guitar and casually put it on the table; there was no standing on ceremony.
“When I took the guitar to my room and started drawing it, it was like a still life and nothing was really happening, until I put the sketch on the bed and the lights above cast a shadow on it. Magical things began to happen and I believe that the guitar was telling me it wanted to be drawn as a shadow. Rory wrote a lot about shadows, and it felt like a spiritual experience.”

Dundee Degree Show 2012



I wrote this piece about Duncan of Jordanstone College of Art's Degree Show for last Saturday's Herald Arts section. It's been a busy week, so only just posting now.

Dundee Degree Show 2012
Duncan of Jordanstone College of Art and Design
13 Perth Road, Dundee
01382 388828 www.dundee.ac.uk/djcad/degreeshow/
May 19-27
(Mon-Fri, 10am-8pm, Sat-Sun, 10am-4pm)
A lone ‘piper’ in full Highland regalia on Martin Creed’s Scotsman Steps in Edinburgh underwhelms passers by with his mournful dirge, before ‘becoming Elvis’. Literally. A horse lover brings her intimate knowledge of horses to bear by creating huge sheets of 'paper' from manure and spun and knitting a blanket made from horsehair. A self-declared Serendipidist makes a coracle with an in-built drawing machine. A dog-lover has entered into the portal of her pet’s jaws and made art from its mouth and teeth.


A rather forlorn-looking Elvis (Matthew Corden) is in the building

It can only be Degree Show time. Step forward Elvis (also known as Matthew Corden - see left), Tiril Planterose, Joanna Scott and Eilidh McKay, who alongside almost 300 fellow final year students will be revealing their work to a waiting world at Duncan of Jordanstone College of Art’s Degree Show, which opens this Friday night in Dundee.
DJCAD Degree Show is always the first in the calendar out of all Scotland’s art schools and is one of the highlights of one of the city's cultural year, attracting almost 10,000 visitors.

This year’s Degree Show is part of an umbrella event between organisations across Dundee, Angus and Fife, called
Ignite, a 10-day celebration of creativity and culture orchestrated by V&A at Dundee in partnership with the One City Many Discoveries, the city council’s new marketing initiative.
Ignite aims to offer up a snapshot of the kind of cultural activities which take place across the region and where better to start than Dundee’s art college, which has a reputation of producing some of the finest talents to emerge from Scotland.
Recent success stories include Turner Prizewinner from 2010, Susan Philipsz, who studied in Dundee from 1998 to 1993 and and Luke Fowler, who has just been nominated for this year’s Turner Prize. The Glaswegian artist graduated from Dundee in 2000.
Degree Shows are not all about finding the next Turner Prize winner and Duncan of Jordanstone’s show is no exception.
With the all-important nerve-wracking assessments having taken place last week, the students work is now on show and awaiting its public in a raft of different disciplines. At DJCAD, there are 11 subjects to look to:
Animation, Art, Philosophy, Contemporary Practices; Digital Interaction Design; Fine Art, Graphic Design; Illustration; Interior Environmental Design; Jewellery & Metal Design; Product Design; Textile Design and Time Based Art & Digital Film.


This year, a special Associates Preview took place last night (Thursday 17 May), at which high profile guests and students took take part in talks and tours during the day and evening. 
Among the high profile names who took part were 2011 Turner Prize winner Martin Boyce, leading Microsoft designer, the cartoonist, Gerald Scarfe, V&A at Dundee director, Philip Long and the fashion designer Helen Storey.