Seasonal Opening Times

Hello everyone,

We are open as normal up to and including Sunday 23rd December.
We are then closed from Monday 24th December until Monday 7th January.
Our next exhibition, 'It's the Little Things', opens on Thursday 10th January - we hope to see you all then.

Normal opening times are:
10.30 - 6.00 Monday to Saturday
12.00 - 6.00 on Sunday

Wishing you a Merry Xmas and a great New Year!

 












'Droma', alkyd on paper, by Philip Braham

CHRISTMAS

There's no escaping it folks......

CHRISTMAS IS COMING!!

A Night to Remember!

Hello everyone,

I thought I'd share some images of the opening night of Derek McGuire's stunning new exhibition, 'Fire in the Garden'.

Here's Derek and his daughter Ella, just before the crowds arrive:

 












And here's what the gallery looked like just 20 minutes later:

A great evening was had by all - many thanks to all who came.

If you didn't make it the the preview, I can't recommend the exhibition enough - just ask anyone who was here!

Speak soon....

Fire In The Garden

The bar has well and truly been raised.......

Black on black and looking good!
'Black Pigs' oil on panel by Derek McGuire.

Exhibition opens this Friday 6-8pm. See you then....

Passing The Sutor

 

 

 

 

 

 

 

 

 

 

 

'Passing The Sutor', acrylic on card by James Newton Adams.

I come here every day I love it when my jumper matches the boat.

Today red. A little jackpot. I'll maybe see her, our dogs are quite friendly now and last time she laughed.

If only I would just say it.

'Passing The Sutor' by Iain Finlay Macleod.

The Orchids

'Orchids and New Moon', watercolour and collage on paper by Jenny Matthews.

Orchids by Hazel Simmons-McDonald 

 

I leave this house
box pieces of the five-week life I;ve gathered.
I’ll send them on
to fill spaces in my future life.
One thing is left
a spray of orchids someone gave
from a bouquet one who makes a ritual of flower-giving sent.
The orchids have no fragrance
but purple petals draw you
to look at the purple heart.
I watered them once
when the blossoms were full blown
like polished poems.
I was sure they’d wilt
and I would toss them out with the five-week litter.
They were stubborn.
I starved them.
They would not die.
This morning the bud at the stalk’s tip unfurled.
I think I’ll pluck the full-blown blooms
press them between pages of memory.
Perhaps in their thin dried transparency
I’ll discover their peculiar poetry.
-Hazel Simmons McDonald

Zorro's Apprentice!

Hello everyone

I wanted to let you see what myself and the talented artist Mark Nicholas Edward have been up to lately.
Its a one-off collaboration between us and we are pretty chuffed with the results....

'Digging for Mr Potato Head'. Ink on paper by Alison Auldjo and Mark Nicholas Edward.

And....

'Zorro's Apprentice'. Ink on paper by Alison Auldjo and Mark Nicolas Edward.

Inspired I'm sure you will agree! All sensible offers for our efforts will be considered.

Leaving you with this:

The lovely Mr MNE holding a painting from his latest collection of work titled 'Sunken Treasures'.
These little acrylics on canvas are indeed treasures and everyone should have one on their wall!

Speak soon x

EXHIBITION TIME!

Its one of our favourite times of the year so we are going to celebrate with an exhibition full of some seriously good looking paintings......

See you all Thursday!

The Fragmentary State

I take an auto-ethnographic approach to Contemporary Art Practice at Porthmeor Studios in St Ives, Cornwall where I am based.  As a phenomenological site of specific interest to my reflexive studio practice is the patina of paint found on the floors, walls and doors formed by weathering, light and occupancy - the fishermen and the artists.  I use the studio as both an instrument and a conceptual framework to develop my inquiry into the notion of fragment as generative phenomena.       

What makes the loci of place?  Art making perhaps, or physical histories and cultural products whose temporal presence is often cyclical, mirrored in the drawings on paper, their material agency embedded in the building itself – unfinished and infolding. 

The painted image evokes the notion of fragment and is the fragment at the same moment.  In this place the painting operates as both a singular process and from the patina a source of many authors, a hinge, from artist to artist.  “It is the fragment and fragmentary state that are the enduring and normative; conversely, it is the whole that’s ephemeral, and the state of wholeness that is transitory.” (Tronzo, William. 2009)  

Clare Wardman, 2012

'Tatuitpo', oil on canvas, by Clare Wardman.

It's All a Matter of Paint

Hello everyone

"I make easel-sized paintings. The matter of paint is where my process begins and ends. I want to be surprised by the last mark as much as I am deflated by the first. I value the facts that a decision on the size and the way the canvas is prepared influences the whole nature of the object while not impeding its possibilities. It is an environment where chance and accidents come into play offering unexpected solutions and illusionistic qualities.
As a sequence, the paintings are uneasily defined. Sometimes reacting to each other incoherently. To me figuration and abstraction are not separate ideologies, simply facts of painting. So my paintings are about the act itself. Still, I find that the historical weight of painting is forever interrupting the act like a reminder that as practitioner one has a responsibility to understand and react to the past and consequently assume a position.
Another preoccupation is to try and understand the utility of painting and it’s relation to design and craft. Through installation, framing and wood carving I explore this relation."
Zara Idelson, July 2012.

 

'Boconnoc', acrylic and pigment on canvas, by Zara Idelson.

Happy Snaps II

Hello everyone

Greetings to our new blog follower Peter (& Fly the dog!) who's adventures you can read about here:

http://pedsoutdoordiary.blogspot.co.uk/

I thought I'd just share a few more shots of the Mark Of Beauty, MOB, opening from 07.08.12 as they are bright and colourful and make me smile:

John McLean's 'Acrobat' glows in the evening sun.

Artist Trevor Jones with his latest paintings and charming gallery visitor.

The lovely artist Iain Robertson in front of his painting, 'One'.
And leaving you with this as it really makes me smile:

Abstract giant John Mclean leaves handy tips on how to hang his painting.
Well, you can't be too careful can you!

Speak soon x

No Preconceptions Here....

"My aim when I start a painting is to create a colour composition, which is only complete when my original ideas and pre-conceptions have been replaced by a purely impulsive conclusion, which surprises and satisfies me.

The work must contain an illusion of the third dimension giving a sense of some colours projecting forward from the picture plane and others appearing to recede.

The whole must have a felt continuity across the entire picture surface and not appear broken by a too deep recessive space which is the result of poor colour relationships."

Fred Pollock, 2012

'Etna', acrylic on canvas, by Fred Pollock.

Something Abstract and really special for a Monday morning

  

'Acrobat', acrylic on canvas, by John McLean.

"My pictures have no hidden meaning.  To understand, all you have to do is look.  I work in terms of the feelings I can elicit with drawing, colour and surface.  Instinct and spontaneity are crucial.  Thought goes into it too, in the same way that it does in singing and dancing."

John McLean, 2012

Surely the perfect description of truly abstract art?

Speak soon.

Happy Snaps

A few photos from the MOB opening 07.08.12

The crowds start gathering......

The paintings start to radiate.

A happy chappy.
Lovely UG visitor Chris enjoying a splash of colour.

Crowd control continues!

Artist Trevor Jones enjoying the evening.

And leaving you with this....

Yup. That is a REAL smile!

Have a bright and beautiful weekend all :)

Mark Of Beauty

This Festival sees the arrival of a MOB to the city.

With a riot of colour!

See you soon........

Leda Come Home

Hello everyone,

It's Festival time here in Embra, so I'm hoping you will all be popping over for a visit the the shortbread city to soak up some culture.  And, of course, to visit UG!

Those of you who are regulars to this blog may already be familiar with Leda, artist Dylan Lisle's faithful friend and studio companion:

 











Leda has featured on this blog before a good few times, and some of you may also remember that she was stolen from Dylan Lisle last year.  Being a Doberman, she is a distinctively handsome (and valuable) breed - historically an attack dog.  Doberman's are prime targets for the increased 'dog-napping' trend by unscrupulous people whose intentions for the animals the abduct I'd rather not think about.

At barely a year old, the plight of Leda seemed to capture the public's sympathy and outrage, with a massive Facebook, blogging and Twitter campaign launched by decent people who willed her safe return.  Such was the concern for Leda that the story gained the attention of radio and print media, as well as a genuine and concerted effort from Lothian and Borders Police.

And she was found! Largely down to an individual who I feel would blush if I went into too much detail.  However, their keen observations, grit and determination ensured a police raid on the home of the perpetrator and the return of Leda to Dylan Lisle, where she belongs:

 
















'Leda Study', charcoal on paper, by Dylan Lisle.
Now I really don't think there can be anyone who cannot appreciate that this is a top notch drawing.  This study, much like the beautiful beast herself, has gained a lot of at attention in the Claire Duguid and Dylan Lisle exhibition.

One evening, and quite by chance, a gentleman who was visiting Edinburgh for just one night walked passed the gallery on his way to his hotel.  He fell in love with her majestic stance and took her home.  He had never bought a piece of art in his life, and nor was he aware of the special bond between the subject matter and the artist, he simply adored the image and the unquestionable skill of the drawing.  He told us he just had to buy it.

As you know, I love a happy ending, so I am very, very pleased to be able to say that Leda went home.....twice.

Speak soon.

Personal Spaces

Hello everyone, and a warm welcome to our new friends and followers.

Today I thought I'd bring you some behind the scenes footage from deep within the hub that is artist Claire Duguid's studio.

Lovely, juicy oil paints ready all for use!

As any artist will tell you: the studio, where all the magic happens, is a place of both excitement and of torment.  It's the place where an artist can fly high in the knowledge that they are producing their best-ever work, or it can feel like solitary confinement - a place of doom when things aren't working for you.  When an artist is working towards an exhibition deadline, those highs and lows are compounded as the clock ticks.  It's an intense and grueling process that requires a certain amount of 'mind over matter', not to mention hours upon hours of fighting it out with the brushes and paint.  You could call it a love/hate relationship.

However, I am pleased to report that all the angst and dedication from artists Claire Duguid and Dylan Lisle was more than worth it, with both of them producing their best work to date for this exhibition.  Here's a snap of Claire Duguid getting stuck in:

 
















Those of you who have viewed Claire's work will have recognised the incredible skill required to produce such paintings.  To be this precise, whilst using so much white oil paint, requires a very steady hand and nerves of steel.  Make one tiny mistake and it will set you back hours or, even worse, literally send you back to the drawing board.

So we applaud you, Claire Duguid, for putting in a herculean effort and remaining calm under pressure. 

Leaving you with my favourite snap:

Here she is managing to force a smile and put on a brave face from the confines of her personal space.

Speak soon.

My Cunning Disguise

Hello everyone

In my last post we discussed the merits of one foxy lady, artist Claire Duguid, although again I'd like to stress that you pay attention to her paintings ;)

Not to be upstaged, artist Dylan Lisle also has some foxy offerings and trust me, they are smack you in the face, drop dead gorgeous.
Take a look at this:

'Sionnachuighim', oil on canvas by Dylan Lisle.

Some of you have been highly impressed by my perfect pronunciation of the intriguing title, 'Sionnachuighim' which, translated from Irish, literally means, 'I play the fox'. Inspired.
This incredible painting warrants a detail:

I have so far managed to resist the temptation to stroke fox's nose.
If that wasn't good enough for you, it gets better:

'My Cunning Disguise', oil on canvas by Dylan Lisle.

What can I say? A mysterious and compelling image I'm sure you'll agree.
'My Cunning Disguise' just begs the imagination to go wild. My personal interpretation is this:

Being an artist involves occupying what can often be a strange and uncertain world, often lonely and sometimes demoralising.
Exhibition opening nights are a classic example, and what many artists dread the most. You see, when you have locked yourself away in solitude to concentrate on the work and painted your 'babies' with every fibre of your being (in Dylan Lisle's case he has worked on this exhibition for a year and a half), its only natural that, given the time, financial and emotional commitment to an exhibition, that you are nervous of how the work will be received. I must say that in Dylan's case, as with Claire, there were no 'smart arse' comments, only praise and admiration for his undeniable skill and subtle story-telling.
I believe 'My Cunning Disguise' to epitomise much of how Dylan Lisle feels as an artist. In those dark moments of uncertainty, you have to dig deep to garner the courage to keep going, to remain a true professional at all times. I have no doubt that during the opening of this exhibition Dylan Lisle was experiencing that excruciating 'out of body' experience which I'm sure is all too familiar to many an artist. Yet, and much like a fox, he did so with with stealth, charisma and resourcefulness, all of which are essential qualities required of a credible artist.
I find 'My Cunning Disguise' a stark and tender painting and I adore the caught 'off guard' and behind the scenes atmosphere: the precious disguise, the make up, has been taken off and been lovingly to tendered to.
Surely we can all perhaps relate to this? Do we not all have days when we need to pull on a 'thick skin', an act or performance to get us through the day and be the person we are expected to be?

Speak soon x

Pretty as a Picture

Hello everyone,

As the Claire Duguid and Dylan Lisle exhibition continues to amaze all those who see it, I wanted to take a close look at Claire Duguid's work, and maybe even read between some lines.

Now there has been a lot of talk and excitement about Miss Duguid, particularly amongst the men folk, so lets get straight to the point: she is a good looking woman.  However, what I am most concerned about is her real talent.  Take a look at this:

'Blessed', oil on canvas, by Claire Duguid.
Yes, that is the artist in the painting, and she is indeed very pleasing on the eye.  But there's a lot more to this talented young woman than killer looks and a stunning set of pins, and I defy anyone to argue that this work of art has not been executed with real precision, skill and attention to detail.  There is a great deal of talent on display here.

I'd also like to add that it takes a brave person, man or woman, to appear on the walls alongside the mighty talent that is Dylan Lisle.  And what can I say?  I couldn't be more proud and happy with the result:

I do believe that in these two artists we have found both a really class act and the perfect foils for each other.  I'm biased of course, but it's no coincidence that internationally acclaimed artist Derek Guild, former tutor to Claire at Duncan of Jordanstone College of Art, has stated that he thinks this is the best exhibition currently in Scotland.  Praise indeed, which might lead me to have one of my 'emotional' moments!

Use of light is extremely important to both the artists in this exhibition, and both are admirers of the great masters like Caravaggio and Velasquez.  Whereas Dylan Lisle's work is dark and dramatic, Claire Duguid's is drenched, almost bleached, in sunlight which enhances its ethereal quality.

Personally, I enjoy that you can tell Claire Duguid's work has been painted by a woman.  There is a real femininity and softness of touch to the work; perhaps even a vulnerability which I think is very brave and encapsulates all that in means to be a modern woman.

I've often thought that being 'blessed' with such attractive features and a charming manner such as Claire's can be something of a hindrance.  What I mean is, on the opening night for example, many of the gentlemen visitors seemed to be fixated by Claire's charms.  I can't help wondering if, when she's talking about something so important and personal as her work, she is sometimes concerned that her words are sinking in.  I believe that Claire Duguid is far too polite to complain about this, so I feel compelled to shout on her behalf.  Yes, she is lovely to look at and it is a pleasure to be in her company, but PLEASE look at her work!  There is so much to admire in these paintings - the brains, the precision, the hard graft and the determination that goes into creating such exquisite paintings is there for all to see.  It is these things that I believe are truly rewarding and, I believe, are what make up the true talent of Claire Duguid.

Happy weekend, all.

Personal Helicon

'Personal Helicon', oil on canvas by Dylan Lisle.

Personal Helicon by Seamus Heaney

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.

One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.

A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.

Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.

Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.

HOTTER THAN JULY!

The hottest ticket in town opens Friday and sees artists Claire Duguid and Dylan Lisle take to the walls!

Mother and daughter. Team Duguid deliver the first batch of paintings fresh from the framers.
Mum is on the left and Claire is on the right.....just so there's no confusion!

And from deep within El Studio Diablo:

A tense Dylan Lisle prepares to amaze us with his latest offerings.
Do you see that we gem he's holding onto? Seen again here:

In my sweaty grasp! The little gem is called 'Magician's Assistant' and is going to be something of a curators choice.

Be here Friday or miss out.

Hilary: the Hunter/Gatherer of Souls

Hello everyone,

Earlier in the month, Alison promised to introduce you to some of the characters that appear in Norrie Harman's solo exhibition, 'Way Out West'.  It would be unthinkable to ignore the biggest of those characters, in both size and personality, the remarkable Hilary:

'Hilary's For Tea', oil on board, by Norrie Harman.
Now this is a big painting, the biggest we've ever shown at 8'x8', and Hilary's personality is all pervasive when you come into the gallery: you cannot ignore her and you cannot deny her impact.  And it's by no means just her size that gives her such impact - this is a painting masterclass from Norrie - a stroke of genius.  In an exhibition that is almost entirely monochrome, it is fascinating that the one painting with colour should actually be the darkest and most disturbing.  Of course, her gruesome painted face is scary, but the unnatural lurid green, clashing with the blood red, is the toxic colour of nightmares.  Not to be taken lightly.

Hilary is a complex character, lonely and full of tragedy, but perhaps deserving to be so.  Having lived with her for the last month, I have grown very fond of Hilary and have learnt to see her vunerability and well as her menace.  She hangs at the back of the gallery with a 'tunnel' of monochrome work pointing towards her.  It takes courage for an artist to use such a limited palette in his work: no distraction of colour, paring the work back to its bare essentials, shows real confidence.  The genius of having just one, enormous and exquisitely painted colour painting that has so much impact has not been missed by those who have visited us this month.

Hilary also makes a couple of appearances in the monochrome work.  Here she is 'hunter/gathering' for the nightmarish tea she is inviting us to:

'Hilary Goes Shopping', watercolour and indian ink, by Norrie Harman.
Again wonderfully created, there is the body language of despair, maybe even defeat, that belies the threat of her appearance.  I love this painting for its power and its humanity.

An interesting footnote about Hilary is that such is her size, Norrie couldn't work on her in his studio, so he built a tin shed on the outskirts of Edinburgh and painted her there.  Doing so in the cold and lonely winter months shows real commitment to his work, and he is to be commended for doing so.  After all, if he hadn't, we would never have got to meet this amazing character.

Love it or hate it (and both opinions have been expressed), there is no denying that 'Hilary's for Tea' is a monumental piece of work which we believe should be housed in a permanent collection for all to experience and consider.  Much of Norrie's work will leave a lasting impression on us: none more so than the wonderful Hilary.

And a Happy Birthday today to 'Hilary's for Tea' creator, Norrie Harman. 

 

Methadone Love III

Hello everyone,

First of all I want to thank all of you who have been in to view, and indeed champion, award-winning artist Norrie Harman's solo exhibition, 'Way Out West'.  The response we have received here at UG has been quite overwhelming and re-affirms everything that we believe in as a gallery: the support and encouragement that we gain from artists and visitors alike creates a very special and precious partnership indeed.

So I've thought long and hard about this blog: in the last one, on 'Kim Kim', I was keen to demonstrate that, although Norrie Harman's work is uncompromisingly strong and sometimes even brutal, if you open your eyes a little bit more, your discover what I believe is the most potent aspect of all - the sensitivity.  'Methadone Love III' takes this to a whole new level.

So here it is, in all its shocking glory:

'Methadone Love III', watercolour & indian ink, by Norrie Harman.
So now might be an appropriate time to stop reading if you are at all offended, but to be fair I see and hear much worse every day - just watch the news for a start!.
Again, if it's not your bag move along now before we get into any more detail.
Too late:

'Methadone Love III', detail, by Norrie Harman.

On completion of each of his works, Norrie sent us an image of the painting.  With 'Methadone Love III', he sent us only the detail below which, I am sure you will agree, is a very fine observation of the female's head:

'Methadone Love III', detail, by Norrie Harman.

I can't help wondering what it says about the art world that an artist sometimes feels the need to sensor, or edit, their work in order to get it accepted  -  to show only the 'pretty bits' to get it the wall space it deserves.  This is not the case with UG: this is a wonderful work of art that we are proud to have in the gallery.  I remember a comment made by my artist friend and contemporary, Patsy McArthur, who once said, "you can't help what comes out of you'.  Of course she was right - as an artist you go the the whole hog or not at all and that is particularly pertinent when talking about an artist with as unique a voice as Norrie Harman.

The nameless, helpless, but still beautiful woman in 'Methadone Love III' has haunted me since I first saw the work, and I think about her situation often.  On speaking to Norrie about the 'offending' artwork, he explained: 'I tried to treat it with as much sensitivity as I could.  I deliberately wasn't too graphic with her genatalia'.
In doing so, Norrie has allowed this woman to retain some dignity and, by painting her face so beautifully and in a manner only he can do, allows us to consider the painting as a whole: shocking, yes, but beautifully so.

Looking at this painting, I can't help but notice the empathy and non-judgemental stance of the artist.  In her drug induced state, her hand fumbles around searching for some affection, landing awkwardly on the head of her lover.  In spite of herself, she has at least managed to participate in some way that is remotely agreeable to her.

We know that, in the history of art, there have been great works of art that have been deemed too offensive or controversial to be seen by the public.  Once censored, or simply excluded from public display, some are now heralded as forward-thinking and enlightened comments of the time.  I believe that 'Norrie Harman's 'Methadone Love III', and his exhibition as a whole, should be seen as a 21st Century equivalent - a powerful and bold statement about the world we live in.

Speak soon.