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| Nothing compares to the first time being shot at – specially-commissioned new work by Rachel Lowther exploring the impact of conflict from WWI and contemporary wars – is unveiled in the Reid Gallery |
Artist Rachel Lowther unveiled an exhibition of new work created in
response to research into The Glasgow School of Art’s Archives and Collections
WWI holdings today, 16 January 2016. The work, which is on show in the GSA’s
Reid Gallery from tomorrow until 20 March, ranges from “bruised” life-sized
sculptures to video works and delicate embroideries and textiles, and responds
not only to the impact of WWI but of contemporary conflicts around the globe.
response to research into The Glasgow School of Art’s Archives and Collections
WWI holdings today, 16 January 2016. The work, which is on show in the GSA’s
Reid Gallery from tomorrow until 20 March, ranges from “bruised” life-sized
sculptures to video works and delicate embroideries and textiles, and responds
not only to the impact of WWI but of contemporary conflicts around the globe.
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| Rachel Lowther: Mother and Child, 2015 detail (oil paint, fibreglass, steel, wood, plaster) |
“In this time of WWI
anniversaries it is also important not to forget that war and conflict continue to rage round
the world today,” says Rachel.
anniversaries it is also important not to forget that war and conflict continue to rage round
the world today,” says Rachel.
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| Rachel Lowther: Mohamed Plays, 2015 (oil paint, fibreglass, steel, wood, plaster ) and Plum blossom/ Syria, 2015 (ink and matte medium on duvet cover) |
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| An embroidery by Rachel Lowther shown on stone recovered from the Mackintosh Library after the fire |
Whilst there are pieces in the exhibition
that specifically reference material in the GSA’s WWI archives much of the new
work relates to contemporary conflicts with the impact of war on young people
particularly strongly reflected: indeed the show’s title – Nothing compares to the first time being shot at – is words of a young soldier fighting in
Afghanistan in 2010. One of the life-sized sculptures remembers four young boys
killed on the beach in Gaza, a beautiful embroidery turns out to be the bruised
eyes of a young girl injured in a bomb blast and another piece relates to the
torture of young people in Syria.
that specifically reference material in the GSA’s WWI archives much of the new
work relates to contemporary conflicts with the impact of war on young people
particularly strongly reflected: indeed the show’s title – Nothing compares to the first time being shot at – is words of a young soldier fighting in
Afghanistan in 2010. One of the life-sized sculptures remembers four young boys
killed on the beach in Gaza, a beautiful embroidery turns out to be the bruised
eyes of a young girl injured in a bomb blast and another piece relates to the
torture of young people in Syria.
Of the work that looks back to WWI and
its impact on young people one is drawn from Rachel’s own family history
referencing how a white feather, a symbol of perceived cowardice, impacted on her
mother’s uncle. “Carl was only 17 but
prompted by this flimsiest and gentlest of objects he
signed up even though he was under age,” explains Rachel. “This act was to lead to his
death on the battlefield in France aged only 18.” In the exhibition
publicity image Rachel dresses as a chicken posing beside one of her life-size
sculptures. Meanwhile, part of the costume is represented in the exhibition on
an anti tank barrier the legs of which are covered with children’s tights.
its impact on young people one is drawn from Rachel’s own family history
referencing how a white feather, a symbol of perceived cowardice, impacted on her
mother’s uncle. “Carl was only 17 but
prompted by this flimsiest and gentlest of objects he
signed up even though he was under age,” explains Rachel. “This act was to lead to his
death on the battlefield in France aged only 18.” In the exhibition
publicity image Rachel dresses as a chicken posing beside one of her life-size
sculptures. Meanwhile, part of the costume is represented in the exhibition on
an anti tank barrier the legs of which are covered with children’s tights.
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| Rachel Lowther: The Firing Line, 2015 (embroidered cotton on cotton) |
Among the
works inspired by letters in the GSA archives are a number of embroideries all
of which are shown on pieces of stone recovered from the Mackintosh Library
after the fire. In one particularly poignant piece
Rachel traces the handwriting of a young GSA student who had signed up and been
sent to the western front. In a letter home he writes “I am now marked fit… and am once more for the firing line.” In this context it was with
a frisson that Rachel read a memo in the GSA Archives written by then director,
Francis (Fra) Newbery from September 1914 committing “to take an active role in the matter of obtaining recruits from among
the student body.”
works inspired by letters in the GSA archives are a number of embroideries all
of which are shown on pieces of stone recovered from the Mackintosh Library
after the fire. In one particularly poignant piece
Rachel traces the handwriting of a young GSA student who had signed up and been
sent to the western front. In a letter home he writes “I am now marked fit… and am once more for the firing line.” In this context it was with
a frisson that Rachel read a memo in the GSA Archives written by then director,
Francis (Fra) Newbery from September 1914 committing “to take an active role in the matter of obtaining recruits from among
the student body.”
Violence infuses the intimate and domestic in the exhibition. Elsewhere
banners made from floral bed sheets are printed with images from war ravaged
cities, or men wrestling; a film depicts a little boy at play, acting out a
brutal battle royal with a hoard of burly action figures.
banners made from floral bed sheets are printed with images from war ravaged
cities, or men wrestling; a film depicts a little boy at play, acting out a
brutal battle royal with a hoard of burly action figures.
Rachel Lowther researched the “shelves and shelves” of
documents held in the GSA’s WWI archives. In the complementary exhibition, which
she has curated, the public is given a rare chance to see some of this original
archival material which Rachel researched as part of her commission.
documents held in the GSA’s WWI archives. In the complementary exhibition, which
she has curated, the public is given a rare chance to see some of this original
archival material which Rachel researched as part of her commission.
Among the pieces on display are letters from the front written on scraps
of paper, others sent by parents of deceased students informing the Director of
the GSA of their fate, letters from the GSA supporting the families of deceased
students, drawings done at the western front, in memoriam cards and the
September 1914 letter from Newbery committing to actively support raising
recruits. One can only imagine how he felt in the years after writing the
letter when faced with the death and injury of so many staff and students.
of paper, others sent by parents of deceased students informing the Director of
the GSA of their fate, letters from the GSA supporting the families of deceased
students, drawings done at the western front, in memoriam cards and the
September 1914 letter from Newbery committing to actively support raising
recruits. One can only imagine how he felt in the years after writing the
letter when faced with the death and injury of so many staff and students.
Two particularly moving pieces are a piece of writing by Henry Alison, a
painting tutor who was seriously injured in the war losing the ability to use
his right hand. Two handwritten pages show him practicing to write with his left
hand. Meanwhile, in a photograph taken some years after the war when he had
returned to the GSA he stands with his left profile to the camera hiding his
physical disfigurement.
painting tutor who was seriously injured in the war losing the ability to use
his right hand. Two handwritten pages show him practicing to write with his left
hand. Meanwhile, in a photograph taken some years after the war when he had
returned to the GSA he stands with his left profile to the camera hiding his
physical disfigurement.
Also among the pieces on show is correspondence between Mackintosh and
Newbery following Mackintosh’s arrest as a “spy.
Newbery following Mackintosh’s arrest as a “spy.
“Dear Mr Newbery, I am writing to ask if you will please
write me a letter setting forth your knowledge of me personally…You can believe
me when I say that neither of us has done anything to deserve being placed in
our present unfortunate position….”
write me a letter setting forth your knowledge of me personally…You can believe
me when I say that neither of us has done anything to deserve being placed in
our present unfortunate position….”
Extract from a letter from Charles Rennie Mackintosh to
Francis Newbery
Francis Newbery
[Mackintosh’s outputs] fitly
come under the head of the outputs of a man of genius….. I esteem Mr Mackintosh
as a man of honour and probity, a lover of his country.
come under the head of the outputs of a man of genius….. I esteem Mr Mackintosh
as a man of honour and probity, a lover of his country.
Extract from the reply from Francis Newbery
Rachel Lowther’s archival research and exhibition were
commissioned by The Glasgow School of Art, with support from Museums Galleries
Scotland WWI Fund.
commissioned by The Glasgow School of Art, with support from Museums Galleries
Scotland WWI Fund.
Joanne Orr, CEO of Museums Galleries Scotland, said “This project by The Glasgow School of Art
exemplifies what Museums Galleries Scotland hoped to support through our WWI
Fund. We asked for new ways of commemorating the First World War and the lasting impact it has
had on Scotland’s people and cultural landscape and the work by Rachel Lowther
forms a lasting and thought provoking legacy for new generations.”
exemplifies what Museums Galleries Scotland hoped to support through our WWI
Fund. We asked for new ways of commemorating the First World War and the lasting impact it has
had on Scotland’s people and cultural landscape and the work by Rachel Lowther
forms a lasting and thought provoking legacy for new generations.”
Ends
Further information images
and interviews contact:
and interviews contact:
Lesley Booth
0779 941 4474
press@gsa.ac.uk