Category Archives: Art

Echo at DCA

AECD0E19-2AE6-435A-8722-B62A16615DEFBy sheer coincidence more than any sort of planning I’m reading with two fellow Wyvern poets at DCA’s ‘Echo’ event next Thursday. The Echo events are visitors’ responses to exhibitions at DCA.

The Echo will be at DCA on Thursday 8th February at 6 o’clock. It’s free, but you do need to order tickets in advance.

More here

 

 


On the wall

With plenty of help from exhibition organiser Tansy Lee Moir, my projection/montage/video piece was safely installed at St Margaret’s House in Edinburgh last night. My piece is based around readings of three short poems from Drawing Breath.

The Grown together exhibition opens on Saturday November 11th.  The exhibition (seen in preparation below) shows a marvellous and very varied collection of tree inspired artwork. Chuffed to be in the company of so many fine artists.

 

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Review: Harmonious Complexity

I enjoyed a visit to the exhibition Harmonious Complexity at the University of Dundee Tower Building.  This is part of a season of events celebrating the 100th anniversary of the publication of D’Arcy Thompson’s book On Grown and FormContinue reading


Grown together

Some more information about the Grown together exhibition in Edinburgh next month…

Grown together poster

click to enlarge

Grown together

This exhibition brings together 18 artists, makers, poets and designers whose work is intimately connected with trees and woodland.

Though their works span a wide variety of media they are all united by a strong affinity with woodland; as a place to observe and connect with nature, as a rich source of metaphor, as a place for reflection and healing, as a link to distant myths and inspiration for new writing, as a sustainable resource to work with.  For some, trees are their singular subject or their raw materials, for others they represent a starting point for their imagination.

Timed to coincide with the launch of the new national Tree Charter, ‘Grown together’ seeks to highlight the relationship between artists and trees and remind us of the reasons we should value and protect them.  By considering trees in new ways, we can learn much about ourselves.

‘To enter a wood is to pass into a different world in which we ourselves are transformed. It is where you travel to find yourself, often, paradoxically, by getting lost.’ Roger Deakin, Wildwood 2007

The exhibition has been curated by Tansy Lee Moir and includes St Margaret’s House residents and invited artists:

Lynn Ahrens  Charlotte Eva Bryan  Isabell Buenz  Chris Dooks  Anne Gilchrist  Aileen Grant  Adele Gregory  Full Grown  Teresa Hunyadi  Aliisa Hyslop  Alan Kay  Rona MacLean  Kenris MacLeod  Tansy Lee Moir  David Mola  Steve Smart  Katherine Sola  Robin Wood

Exhibition opening event 1-4pm Saturday 11th November.

Exhibition open daily 11am – 6pm until Sunday 26th November.

Events during the exhibition run –  to be confirmed.

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Review:

‘The Journey’ by Christine McIver

Exodus

Home is a big thing. If you’re lucky, like I’ve been, home is a place you care about, with people who care about you. Losing home must be like losing a part of your own body. Losing home because of the violent acts of others is something almost unthinkably painful, and yet this may be the least of the suffering which forms the stark reality of millions of people in the world today. It is not something I find easy to think about.  It is not something I really want to think about. Perhaps “Mankind cannot bear too much reality” after all.

To the river

I think that an important role of the paintings in Christine McIver‘s exhibition “The Journey” is to bring the viewer to look again at images of migration, and to help us to think again about something that it might be easier to put out of mind.

The exhibition at the Dunblane Museum is quite small – only a dozen or so works in all, but several of these are unusually long images of a panoramic aspect ratio.  Christine’s subject is migration. She shows us shadowy tides of humanity drifting by the perimeters of our world in the liminal light of the edge of day.  These long journey-friezes, resembling lost scrolls rendered on archeologically fragile rice paper, are at first vaguenesses of crowds.  But as the eye lingers on interesting textures, and shadows of movement, individual moments of story become visible, lagging children are gathered up, pained backs hunched inward, bone-weary people prop each other up.  It’s necessary to work to visualise the details, and that requirement is part of the skill of these paintings. The eye wants to engage, and the mind needs-must follows, even if into territory that we might rather not consider.

There’s more than this at work here, and I hesitate a little before bringing up another driver that I think underlies the compassion and urge to convert empathy into action here.  It is something unfashionable, and something that I think the artist might hesitate to discuss directly…

It’s faith.

open rant

Let me be upfront about how I feel about faith. Although I’m an avowed atheist (I have been reliably told it’s a pity I’ll be going to Hell before now), I’m not a Richard-Dawkins-hang-’em-high kind of an atheist. I do have major concerns about what religious belief can do to people when it goes awry – and, Jings! it often does. Faith aggravated conflict seems itself be a significant contributing factor to the causes of so much contemporary migration. However, that doesn’t mean that I have no respect for the beliefs of the many people of faith who I know to be remarkable, generous, and plain-honest-to-goodness sound individuals. 

] rant ends. Apologies!

Having said all of which, I feel that faith is very present in this work.  The titles of some of the works like ‘Exodus’ and ‘To the river’ point the way to biblical references, and the show has a strong feel of the drive of Witness about it.  My point is that these works – which are neither derivative nor preachy – are empowered by this drive.  We do tend to fall back on biblical metaphors when presented with a sufficiently catastrophic mass of human suffering.  But I do not think this is what is happening here.  Rather it seems to me that faith, perhaps metaphorically informed by biblical narratives, is a core part of the artist’s psyche. It would have been disingenuous not to allow this to be present into these paintings.

Across open fields  (scroll to view)

This provoking show was two years in the making. It has already sold well, and this forms part of the artist’s intention to generate action as well as empathy, as proceeds are being passed on to refugee charities.

The images shown here are frustratingly small – I think it is important to meet these paintings face-to-face.  When I did I felt engaged, and compelled to think and question in several uncomfortable directions at once. Where next? I am not sure.

The Journey by Christine McIver is at the Dunblane Museum until May 29th 2017, admission is free.

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drawing breath

Trees can be very big, and some of them are very old. Their character and way of life is complex, in many ways hidden, and very different from our own. They can make us pause and they can make us gasp.

drawing breath is a collection of twelve poems arising from a collaboration with visual artist Tansy Lee Moir.

I’ve made booklet with the poems, some photographs, and some of Tansy’s drawings, and I’ve also made a series of recordings of readings.  Hope you like them!

You can find links to all of these and more about our collaboration here.

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Reading at Howden Park

I’m going to be reading some poems at Tansy Lee Moir’s residency presentation event at the Howden Park Centre, Livingston on Sunday (23d) afternoon.  If you’re anywhere nearby it’d be great to see you there.

Facebook event

Out of our collaboration I’ve written twelve poems to make a small collection called ‘Drawing Breath’. I’m going to post more about this soon, including some audio recordings, and details about a print copies.

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