Work
by Alasdair Gray and Aubrey Beardsley, Eric Gill, Peter Howson, Dorothy
Iannone, David Kindersley Lida Lopes Cardozo and Denis Tegetmeier, together
with new commissions from Oliver Braid, Stuart Murray, My
Bookcase and Hanna Tuulikki
by Alasdair Gray and Aubrey Beardsley, Eric Gill, Peter Howson, Dorothy
Iannone, David Kindersley Lida Lopes Cardozo and Denis Tegetmeier, together
with new commissions from Oliver Braid, Stuart Murray, My
Bookcase and Hanna Tuulikki
Associated
events:
events:
Sunday 14 December 2014 at 7.45pm The Bedfords and A Life in Progress, GFT.
Friday19 December 2014 at 1pm Rachel Maclean: ‘Brawny
Batchelors and Macho Maidens’, Reid Auditorium, the GSA.
Batchelors and Macho Maidens’, Reid Auditorium, the GSA.
Wednesday 14 January 2015 at 1pm Edwin Pickstone: A potted history of the alphabet and
its designs, Principal Seminar Room 1, Reid Building, the GSA.
its designs, Principal Seminar Room 1, Reid Building, the GSA.
Part of the Alasdair Gray celebration,
marking his 80th birthday, this exhibition provides alternative
readings of his visual practice, through the prism of others’. Spheres of
Influence II is curated by ‘by
Jenny Brownrigg, GSA Exhibitions Director. It includes
both historical and contemporary pieces from the realms of visual art, design
and illustration. Gray’s work forms the central point around which the other
works orbit. The broad themes drawn from Gray’s oeuvre include graphic style;
symbolism; text and image; lettering and the alphabet; portraiture and
identity; labour; religion; war; love and sexuality. The exhibition
includes special commissions from Oliver Braid, Stuart Murray, My Bookcase and
Hanna Tuulikki.
marking his 80th birthday, this exhibition provides alternative
readings of his visual practice, through the prism of others’. Spheres of
Influence II is curated by ‘by
Jenny Brownrigg, GSA Exhibitions Director. It includes
both historical and contemporary pieces from the realms of visual art, design
and illustration. Gray’s work forms the central point around which the other
works orbit. The broad themes drawn from Gray’s oeuvre include graphic style;
symbolism; text and image; lettering and the alphabet; portraiture and
identity; labour; religion; war; love and sexuality. The exhibition
includes special commissions from Oliver Braid, Stuart Murray, My Bookcase and
Hanna Tuulikki.
Illustration by Aubrey
Beardsley on show in Sphere of Influence II
Beardsley on show in Sphere of Influence II
‘When fifteen or sixteen I discovered Aubrey Beardsley and
loved the way he made innocent fun of mild perversity. He drew naked bodies
beautifully, but also enjoyed inventing fantastic costumes for them to dress
and undress in‘.
loved the way he made innocent fun of mild perversity. He drew naked bodies
beautifully, but also enjoyed inventing fantastic costumes for them to dress
and undress in‘.
Alasdair Gray
Spheres of Influence II
runs
in the Reid Gallery, Reid Building, The Glasgow School of Art, 164 Renfrew St,
Glasgow until 25 January 2015. Please
note that the GSA is closed from 24 December 2014 – 4 January 2015 inclusive.
runs
in the Reid Gallery, Reid Building, The Glasgow School of Art, 164 Renfrew St,
Glasgow until 25 January 2015. Please
note that the GSA is closed from 24 December 2014 – 4 January 2015 inclusive.
Artists featured in
Spheres of Influence II
Spheres of Influence II
Alasdair Gray‘s
(b. 1934) visual work is the central inspiration for ‘Spheres of Influence ll’, which is part of The Alasdair Gray
Season. This season is devised by Sorcha Dallas, to celebrate Gray at
eighty years old. Gray studied in Mural Design at The Glasgow School of Art
1952-57. His fifteen works selected for
‘Spheres of Influence ll‘ include working drawings for book covers,
poster designs and screenprints made between 1954 and 2010. Gray’s
retrospective ‘From the Personal to the
Universal’ is at Kelvingrove Art Gallery and Museum, running until 22 Feb
2015. ‘Spheres of Influence 1’ is at
Gallery of Modern Art, Glasgow, (GOMA) until 25 May 2015, and draws on works
from Glasgow Museums’ collection, to look at Gray’s practice, influences and
work.
(b. 1934) visual work is the central inspiration for ‘Spheres of Influence ll’, which is part of The Alasdair Gray
Season. This season is devised by Sorcha Dallas, to celebrate Gray at
eighty years old. Gray studied in Mural Design at The Glasgow School of Art
1952-57. His fifteen works selected for
‘Spheres of Influence ll‘ include working drawings for book covers,
poster designs and screenprints made between 1954 and 2010. Gray’s
retrospective ‘From the Personal to the
Universal’ is at Kelvingrove Art Gallery and Museum, running until 22 Feb
2015. ‘Spheres of Influence 1’ is at
Gallery of Modern Art, Glasgow, (GOMA) until 25 May 2015, and draws on works
from Glasgow Museums’ collection, to look at Gray’s practice, influences and
work.
Aubrey Beardsley
(1872-1898) believed that ‘The grotesque is the only alternative to the
insipid commonplace‘. An artist of the Art Nouveau era, his black ink
drawings, inspired by Japanese Shunga woodblock prints, emphasised the erotic
and decadent. This exhibition shows two illustrations made for Edgar Allan Poe
stories including ‘The Murders in the Rue
Morgue’ (1895). Alasdair Gray remembers,
(1872-1898) believed that ‘The grotesque is the only alternative to the
insipid commonplace‘. An artist of the Art Nouveau era, his black ink
drawings, inspired by Japanese Shunga woodblock prints, emphasised the erotic
and decadent. This exhibition shows two illustrations made for Edgar Allan Poe
stories including ‘The Murders in the Rue
Morgue’ (1895). Alasdair Gray remembers,
‘When
fifteen or sixteen I discovered Aubrey Beardsley and loved the way he made
innocent
fifteen or sixteen I discovered Aubrey Beardsley and loved the way he made
innocent
fun of mild perversity. He drew naked bodies
beautifully, but also enjoyed inventing
beautifully, but also enjoyed inventing
fantastic costumes for them to dress and
undress in‘. 1
undress in‘. 1
A further series of Beardsley’s
illustrations can be seen at GOMA.
illustrations can be seen at GOMA.
Eric Gill
(1882-1940) has been cited by Alasdair Gray as a visual influence. Gray’s work
‘Corruption‘ (2008) borrows a Gill image of an entwined couple, to rest
in the belly of a skeletal woman (this image of the couple also appears in
Greenhead Church mural in 1963 and in the oil painting ‘Eden and After’ (1966)). Gill was an artist-craftsman, who was a
letter cutter, sculptor, designer, writer and printer, ‘with a passionate
urge to achieve an integration of life and art and work and worship, his own
sense of mission -often thwarted- ‘to make a cell of good living in the chaos
of our world’.” 2 Influenced by
John Ruskin and William Morris, he established a series of Workshops containing
domestic dwelling, chapel and workshop, at Ditchling (1907-13 in Ditchling Village;
1913-24 Ditchling Common), then Capel-y-ffin, Wales (1924-8) and Piggots
(1928-40).
(1882-1940) has been cited by Alasdair Gray as a visual influence. Gray’s work
‘Corruption‘ (2008) borrows a Gill image of an entwined couple, to rest
in the belly of a skeletal woman (this image of the couple also appears in
Greenhead Church mural in 1963 and in the oil painting ‘Eden and After’ (1966)). Gill was an artist-craftsman, who was a
letter cutter, sculptor, designer, writer and printer, ‘with a passionate
urge to achieve an integration of life and art and work and worship, his own
sense of mission -often thwarted- ‘to make a cell of good living in the chaos
of our world’.” 2 Influenced by
John Ruskin and William Morris, he established a series of Workshops containing
domestic dwelling, chapel and workshop, at Ditchling (1907-13 in Ditchling Village;
1913-24 Ditchling Common), then Capel-y-ffin, Wales (1924-8) and Piggots
(1928-40).
Commissioned by Monotype, Gill
created the type of Gil Sans and Perpetua. ‘Spheres of Influence ll‘
shows a series of Gill’s illustrations and bookworks. In the former, a number
of his striking religious illustrations are shown, including ‘Our Lady of
Lourdes‘ (1920), ‘Epiphany‘ (1917) and ‘The Madonna and Child:
Madonna Knitting‘ (1916). In the latter, Gill believed as a craft that
knitting was more of import than art enjoyed by the art world. Illustrations of
his lettering for ‘Autumn Midnight‘ (1923) show figures animating each
letter. Through St Dominic’s Press, his printing venture with Hilary Pepler, a
series of ‘Welfare Handbooks‘ were printed covering all of Gill’s
favourite topics of the time, including Welfare Handbook No.10 on ‘Birth Control’, and the two Welfare
Handbooks on display, No. 4 ‘Riches‘ (1919) and No.7 ‘Dress: Being an
essay in masculine vanity and an exposure of the Un-Christian apparel favoured
by females’ (1921).
created the type of Gil Sans and Perpetua. ‘Spheres of Influence ll‘
shows a series of Gill’s illustrations and bookworks. In the former, a number
of his striking religious illustrations are shown, including ‘Our Lady of
Lourdes‘ (1920), ‘Epiphany‘ (1917) and ‘The Madonna and Child:
Madonna Knitting‘ (1916). In the latter, Gill believed as a craft that
knitting was more of import than art enjoyed by the art world. Illustrations of
his lettering for ‘Autumn Midnight‘ (1923) show figures animating each
letter. Through St Dominic’s Press, his printing venture with Hilary Pepler, a
series of ‘Welfare Handbooks‘ were printed covering all of Gill’s
favourite topics of the time, including Welfare Handbook No.10 on ‘Birth Control’, and the two Welfare
Handbooks on display, No. 4 ‘Riches‘ (1919) and No.7 ‘Dress: Being an
essay in masculine vanity and an exposure of the Un-Christian apparel favoured
by females’ (1921).
Eric Gill was a controversial
figure in his life and choices. Fiona MacCarthy’s 1987 biography ‘Eric Gill’ charts the contradictions
between his life and practice.
figure in his life and choices. Fiona MacCarthy’s 1987 biography ‘Eric Gill’ charts the contradictions
between his life and practice.
Peter Howson
(b. 1958) studied Painting at GSA 1975-7, then 1979-81. In between these
periods, he signed up for the army spending nine months in the Fuseliers in
Midlothian. In an interview with the actor Steven Berkoff he says of this time,
(b. 1958) studied Painting at GSA 1975-7, then 1979-81. In between these
periods, he signed up for the army spending nine months in the Fuseliers in
Midlothian. In an interview with the actor Steven Berkoff he says of this time,
‘I was about 18, 19, I think.
I was in the Infantry and then because they thought I would go onto different
things they put me in the Scottish Divisional Squad. All sorts of mad things in
that, but I couldn’t handle it. I was too young, so that’s why I left…. I
spent about a year doing other jobs before I went back to Art School. When I
returned I still continued being unhappy until one day a new tutor came called
Sandy Moffat…. He was going through all my drawings and the drawings were
mostly crap; until the last few at the bottom, the ones that I had hidden away.
They were the Army drawings. And they were all these things about regimental
baths, all the stuff that happens in the Army. He went crazy for these drawings
– so that was the start of me getting, I suppose, more confident.’ 3
I was in the Infantry and then because they thought I would go onto different
things they put me in the Scottish Divisional Squad. All sorts of mad things in
that, but I couldn’t handle it. I was too young, so that’s why I left…. I
spent about a year doing other jobs before I went back to Art School. When I
returned I still continued being unhappy until one day a new tutor came called
Sandy Moffat…. He was going through all my drawings and the drawings were
mostly crap; until the last few at the bottom, the ones that I had hidden away.
They were the Army drawings. And they were all these things about regimental
baths, all the stuff that happens in the Army. He went crazy for these drawings
– so that was the start of me getting, I suppose, more confident.’ 3
‘Spheres of Influence ll’
shows these early drawings, alongside two portraits from ‘Saracen Heads‘
series that Howson made of people he encountered around his studio of that time
in the Gallowgate, Glasgow. Howson’s army images echo the gaunt lines of Gray’s
‘Preliminary Sketch for the Horrors of War (for Scotland USSR Friendship
Society)‘ (1954), an artwork Gray made whilst still at GSA. This piece is
the design for a mural which Gray describes as denoting his ‘dread of how nuclear war would distort
humanity.’ 4
shows these early drawings, alongside two portraits from ‘Saracen Heads‘
series that Howson made of people he encountered around his studio of that time
in the Gallowgate, Glasgow. Howson’s army images echo the gaunt lines of Gray’s
‘Preliminary Sketch for the Horrors of War (for Scotland USSR Friendship
Society)‘ (1954), an artwork Gray made whilst still at GSA. This piece is
the design for a mural which Gray describes as denoting his ‘dread of how nuclear war would distort
humanity.’ 4
Peter Howson’s portraits ‘Jimmy‘
and ‘Rupert‘ from Saracen Heads (1987) link with Stuart
Murray’s six drawings from his blog ‘The Folk Ye Bump Intae‘, http://thefolkyebumpintae.wordpress.com/
where the artist remembers the people he encounters in East End of Glasgow pubs
and streets, and draws them from memory, along with their conversations.
and ‘Rupert‘ from Saracen Heads (1987) link with Stuart
Murray’s six drawings from his blog ‘The Folk Ye Bump Intae‘, http://thefolkyebumpintae.wordpress.com/
where the artist remembers the people he encounters in East End of Glasgow pubs
and streets, and draws them from memory, along with their conversations.
Dorothy Iannone
(b.1933) is an American self- taught artist, now living in Berlin, who is a
year older than Alasdair Gray. As Gray’s works have more often contextualised
with his own peer group, or with a younger generation of artists, ‘Spheres
of Influence ll’ offers the opportunity to see his work alongside an
international artist who is also drawn to using a graphic style of confident
line and flat colour, to record the autobiographical in text and image. Whilst
Gray’s work speaks from a masculine perspective, Iannone offers the female
viewpoint, of a woman in search of ecstatic love. Iannone’s work, such as ‘The
Next Great Moment is Ours‘, (1976), is in the style of a hand drawn comic
strip and records “a journey of ever-increasing sexual,
political and spiritual awareness and a life perpetually in search of union –
with the beloved, the viewer, listeners and the world.” 5
(b.1933) is an American self- taught artist, now living in Berlin, who is a
year older than Alasdair Gray. As Gray’s works have more often contextualised
with his own peer group, or with a younger generation of artists, ‘Spheres
of Influence ll’ offers the opportunity to see his work alongside an
international artist who is also drawn to using a graphic style of confident
line and flat colour, to record the autobiographical in text and image. Whilst
Gray’s work speaks from a masculine perspective, Iannone offers the female
viewpoint, of a woman in search of ecstatic love. Iannone’s work, such as ‘The
Next Great Moment is Ours‘, (1976), is in the style of a hand drawn comic
strip and records “a journey of ever-increasing sexual,
political and spiritual awareness and a life perpetually in search of union –
with the beloved, the viewer, listeners and the world.” 5
David Kindersley (1915-1995)
and Lida Lopes Cardozo,
formed the Cardozo Kindersley Workshop in Cambridge in 1976.
Designers of the main gates at the British Library in London, the Workshop also
undertook letter cutting on the building of The Gallery of Modern Art in
Glasgow. Kindersley had been an apprentice of Eric Gill’s at Piggots in the
YEAR, drawn to the workshop as a model of integrated art and life, following
reading Gill’s book of essays ‘Art-Nonsense and other essays‘ (1929)
which derided the mystery and elitism of the artworld. The small slate work by
Kindersley and Cardozo in ‘Spheres of Influence ll’, ‘The Promises of Lovers‘,
cut in 1988, bears the inscription ‘The promises of lovers are as light as
the leaves which the winds carry away’.
and Lida Lopes Cardozo,
formed the Cardozo Kindersley Workshop in Cambridge in 1976.
Designers of the main gates at the British Library in London, the Workshop also
undertook letter cutting on the building of The Gallery of Modern Art in
Glasgow. Kindersley had been an apprentice of Eric Gill’s at Piggots in the
YEAR, drawn to the workshop as a model of integrated art and life, following
reading Gill’s book of essays ‘Art-Nonsense and other essays‘ (1929)
which derided the mystery and elitism of the artworld. The small slate work by
Kindersley and Cardozo in ‘Spheres of Influence ll’, ‘The Promises of Lovers‘,
cut in 1988, bears the inscription ‘The promises of lovers are as light as
the leaves which the winds carry away’.
Denis Tegetmeier
(1895-1987) was an illustrator, engraver, carver, letterer,
designer and painter. He, like Kindersley, was an apprentice of Eric Gill,
marrying Gill’s daughter Petra in 1930. Tegetmeier was also a political
cartoonist, gathering cuttings of all the news of the day, then going onto use them
as the source for his illustrations for Catholic Herald and GK Weekly. The six
etchings on show are illustrations from a collaborative bookwork with Eric Gill
called ‘Unholy Trinity’ (1938). This book opening sentence is, ‘In
the beginning was power; that is to say, the police and the military‘.
Tegetmeier fought in WW1, spending three years fighting in France in the Royal
Field Artillery. Following this experience, he believed his path to be
religious and stayed for a period with monks. When they tried to persuade him
to become a priest, which would not have allowed him a solitary existence to
draw, he went on to attend the Central School of Arts and Crafts. His tutors
put him forward to assist Eric Gill in the lettering for the War Memorial Gill
had been commissioned to make in Oxford.
(1895-1987) was an illustrator, engraver, carver, letterer,
designer and painter. He, like Kindersley, was an apprentice of Eric Gill,
marrying Gill’s daughter Petra in 1930. Tegetmeier was also a political
cartoonist, gathering cuttings of all the news of the day, then going onto use them
as the source for his illustrations for Catholic Herald and GK Weekly. The six
etchings on show are illustrations from a collaborative bookwork with Eric Gill
called ‘Unholy Trinity’ (1938). This book opening sentence is, ‘In
the beginning was power; that is to say, the police and the military‘.
Tegetmeier fought in WW1, spending three years fighting in France in the Royal
Field Artillery. Following this experience, he believed his path to be
religious and stayed for a period with monks. When they tried to persuade him
to become a priest, which would not have allowed him a solitary existence to
draw, he went on to attend the Central School of Arts and Crafts. His tutors
put him forward to assist Eric Gill in the lettering for the War Memorial Gill
had been commissioned to make in Oxford.
Oliver Braid (b.1984)
studied MFA at GSA from 2008-10. One group of three drawings are from series ‘Communal
Dolphin Snouting’ (2013). The second group are commissioned for ‘Spheres
of Influence ll‘. Braid always works on A3 sketchbook paper for his
intricate pen drawings, which in their level of detail are reminiscent of
Gray’s ‘Faust in His Study‘(1958) or illustrations for ‘Lanark‘
(1982). Braid conceals symbols and messages within his drawings, endeavouring, ‘to get away from our pre-occupation as the
audience with the meaning of an artwork being the full stop and us working it
backwards to understand it.’ He is keen that, ‘the artwork moves forward, relying on the idea of belief or leap of
faith.’ 6
studied MFA at GSA from 2008-10. One group of three drawings are from series ‘Communal
Dolphin Snouting’ (2013). The second group are commissioned for ‘Spheres
of Influence ll‘. Braid always works on A3 sketchbook paper for his
intricate pen drawings, which in their level of detail are reminiscent of
Gray’s ‘Faust in His Study‘(1958) or illustrations for ‘Lanark‘
(1982). Braid conceals symbols and messages within his drawings, endeavouring, ‘to get away from our pre-occupation as the
audience with the meaning of an artwork being the full stop and us working it
backwards to understand it.’ He is keen that, ‘the artwork moves forward, relying on the idea of belief or leap of
faith.’ 6
Stuart Murray
(b.1978) has made a new book, ‘Gateway to Work’, which brings together
his drawings made in the early 2000s detailing his attendance of ‘Gateway to Work‘ training through the ‘New Deal’, a workfare programme
instigated in the late 1990s by Blair’s Labour Government to reduce
unemployment. In Gray’s City Recorder series, showing at Kelvingrove, Gray
notes that ‘The man wearing a blue jacket
with a folder under his arm, ‘ in Graham Square Cotton Mill and Entrance
to the Meat Market’ (1977) ‘was a
modern inspector employed by the Jobs Creation Scheme, who had come to find if
I was usefully employed’. 7 Stuart Murray studied Printmaking at GSA from
1997-2001. ‘Gateway to Work’ is shown
alongside Eric Gill’s book ‘Servile
Labour and Contemplation’, published posthumously by The Aylesford Press
(1987). Gill believed in ‘the idea of the
sacredness of workmanship: the perception that ‘happy intense absorption’ in
any work, brought as near to perfection as possible, is a state of being with
God’. 8
(b.1978) has made a new book, ‘Gateway to Work’, which brings together
his drawings made in the early 2000s detailing his attendance of ‘Gateway to Work‘ training through the ‘New Deal’, a workfare programme
instigated in the late 1990s by Blair’s Labour Government to reduce
unemployment. In Gray’s City Recorder series, showing at Kelvingrove, Gray
notes that ‘The man wearing a blue jacket
with a folder under his arm, ‘ in Graham Square Cotton Mill and Entrance
to the Meat Market’ (1977) ‘was a
modern inspector employed by the Jobs Creation Scheme, who had come to find if
I was usefully employed’. 7 Stuart Murray studied Printmaking at GSA from
1997-2001. ‘Gateway to Work’ is shown
alongside Eric Gill’s book ‘Servile
Labour and Contemplation’, published posthumously by The Aylesford Press
(1987). Gill believed in ‘the idea of the
sacredness of workmanship: the perception that ‘happy intense absorption’ in
any work, brought as near to perfection as possible, is a state of being with
God’. 8
‘My Bookcase’ (b. 1986) From a dialogue between artist and writer Alasdair Gray and Cristina
Garriga, founder of My Bookcase, a
book resource has been created in occasion of Alasdair Gray Season: Spheres
of Influence II. The book collection on display has been specially picked
by the artist from his personal bookshelves. It acts as a reading resource for
the visitor, as well as an alternate reading of the artist through his personal
library. www.mybookcase.org is
a non-for-profit organization dedicated to the dissemination,
understanding and appreciation of books. My
Bookcase won a
Deutsche Bank Award for Creative Enterprise in 2014. Cristina Garriga graduated from GSA’s MLitt in 2014.
Garriga, founder of My Bookcase, a
book resource has been created in occasion of Alasdair Gray Season: Spheres
of Influence II. The book collection on display has been specially picked
by the artist from his personal bookshelves. It acts as a reading resource for
the visitor, as well as an alternate reading of the artist through his personal
library. www.mybookcase.org is
a non-for-profit organization dedicated to the dissemination,
understanding and appreciation of books. My
Bookcase won a
Deutsche Bank Award for Creative Enterprise in 2014. Cristina Garriga graduated from GSA’s MLitt in 2014.
Hanna Tuulikki
(b.1982) is an artist and composer. She studied 2003-2006 GSA Sculpture and
Environmental Art. For this exhibition Tuulikki has brought together
illustrations for two ‘Alphabets’, where the letters are formed by naked
figures. These two pictorial alphabets were made for the artwork of
albums by Tuulikki’s band Two Wings. ‘Alphabet 1’ was devised as the
artwork for the album ‘Love’s Spring’
(Tin Angel Records, 2012), and inspired by medieval figurative alphabets. ’Alphabet 2’ was devised as the artwork for the album ‘A Wake’ (Tin Angel Records, 2014). Again, devised from naked
figures, on this occasion carrying tools, celebrating the ordinary everyday
objects with which we make and remake the world. The objects carry practical
and symbolic meanings.
(b.1982) is an artist and composer. She studied 2003-2006 GSA Sculpture and
Environmental Art. For this exhibition Tuulikki has brought together
illustrations for two ‘Alphabets’, where the letters are formed by naked
figures. These two pictorial alphabets were made for the artwork of
albums by Tuulikki’s band Two Wings. ‘Alphabet 1’ was devised as the
artwork for the album ‘Love’s Spring’
(Tin Angel Records, 2012), and inspired by medieval figurative alphabets. ’Alphabet 2’ was devised as the artwork for the album ‘A Wake’ (Tin Angel Records, 2014). Again, devised from naked
figures, on this occasion carrying tools, celebrating the ordinary everyday
objects with which we make and remake the world. The objects carry practical
and symbolic meanings.
Linking to Alasdair Gray’s ‘The Fall of Kelvin Walker’(1990) and
Eric Gill’s ‘Ascension‘ (1918), the exhibition also shows Tuulikki’s two
original pen and ink illustrations ‘Fall‘ (2011) and ‘Ascension‘
(2011). Tuulikki says of the works:
Eric Gill’s ‘Ascension‘ (1918), the exhibition also shows Tuulikki’s two
original pen and ink illustrations ‘Fall‘ (2011) and ‘Ascension‘
(2011). Tuulikki says of the works:
“These drawings
reflect on the familiar themes of fall and ascension, setting aside the
traditional Christian axis, which places the earth in the centre
(Hell-Earth-Heaven), for one that places the sun in the centre
(Earth-Sun-Sky). In Ascension genderless
naked bodies transcend their human form. Emerging from the dark earth they
clamber on top of one another and learn to co-operate, creating a human ladder,
in order to reach to their common goal – the sun, source of light and life.
The same genderless naked bodies, this time pictured with wings, dive out of
from the constellations of the night sky and reach towards the sun, in Fall.”
reflect on the familiar themes of fall and ascension, setting aside the
traditional Christian axis, which places the earth in the centre
(Hell-Earth-Heaven), for one that places the sun in the centre
(Earth-Sun-Sky). In Ascension genderless
naked bodies transcend their human form. Emerging from the dark earth they
clamber on top of one another and learn to co-operate, creating a human ladder,
in order to reach to their common goal – the sun, source of light and life.
The same genderless naked bodies, this time pictured with wings, dive out of
from the constellations of the night sky and reach towards the sun, in Fall.”
The commissions and event
programme are funded by Outset Scotland in association with YPO. Works on loan
are from Sorcha Dallas, Ditchling Museum of Art + Craft, Glasgow Museums, The
Living Art Museum (Iceland), Flowers Gallery, the collection of a Sandy Moffat
and the artists.
programme are funded by Outset Scotland in association with YPO. Works on loan
are from Sorcha Dallas, Ditchling Museum of Art + Craft, Glasgow Museums, The
Living Art Museum (Iceland), Flowers Gallery, the collection of a Sandy Moffat
and the artists.
Footnotes
1 P.15, ‘A Life In Pictures’,
Alasdair Gray, Canongate (2010)
Alasdair Gray, Canongate (2010)
2 P22, ‘Eric Gill’, Fiona MacCarthy (1989), Faber and Faber Limited
3 ‘Profile: Peter Howson: The Best of Times, The
Worst of Times,’ in conversation with Steven Berkoff http://discreet-uk.com/state-of-art/ISSUE%20THREE/howson.html
Worst of Times,’ in conversation with Steven Berkoff http://discreet-uk.com/state-of-art/ISSUE%20THREE/howson.html
4
P.60, ‘A Life In Pictures’, Alasdair Gray, Canongate (2010)
P.60, ‘A Life In Pictures’, Alasdair Gray, Canongate (2010)
5 Camden
Arts Centre interpretation, ‘Innocence and Aware’, Dorothy Iannone, solo
show 2013
Arts Centre interpretation, ‘Innocence and Aware’, Dorothy Iannone, solo
show 2013
6
Conversation with artist on studio visit
Conversation with artist on studio visit
7 p.179, ‘A Life In Pictures’,
Alasdair Gray, Canongate (2010)
Alasdair Gray, Canongate (2010)
8 P257, ‘Eric
Gill’, Fiona MacCarthy (1989), Faber and Faber Limit
Gill’, Fiona MacCarthy (1989), Faber and Faber Limit
Acknowledgements
Thank you Alasdair Gray.
Thanks to the artists, lenders
and funders; and to Sorcha Dallas, Katie Bruce, Martin Craig and Ben Harman for
their conversations during the planning of this exhibition for The Alasdair Gray Season.
and funders; and to Sorcha Dallas, Katie Bruce, Martin Craig and Ben Harman for
their conversations during the planning of this exhibition for The Alasdair Gray Season.
Special thanks to Donna Steele
at Ditchling Museum of Art + Craft for suggesting the work of Denis Tegetmeier
and to his daughter Charlotte Cooke and her husband Robin for their help.
at Ditchling Museum of Art + Craft for suggesting the work of Denis Tegetmeier
and to his daughter Charlotte Cooke and her husband Robin for their help.
And to Anne-Marie Watson for
introducing the work of Dorothy Iannone.
introducing the work of Dorothy Iannone.