Son of a Butcher

Hello everyone
I've been thinking a lot about all you wonderful and fascinating people who visit UG every month.
This month sees the arrival of a whole host of new visitors I've had the pleasure of meeting and I'm enjoying every minute of it.
All of you have been lured here by a very unique and raw new talent in town. That talent belongs to award-winning artist Norrie Harman.

Hilary with her maker.
'Hilary's for Tea', oil on panel by Norrie Harman.

Some of you may not yet have read the first review of his exhilarating exhibition, 'Way Out West'. If you have will you indulge me and stick this in your browser again?

http://www.broughtonspurtle.org.uk/news/heart-and-horror-norrie-harmans-way-out-west

Over the next few weeks we have much to share with you about Norrie Harman and his work, and we will revel in introducing you to some of his creations, like Roxy, Linda and Kim Kim, and of course that 'famous' Hyena and the infamous Hilary.
But first, by way of an introduction, I'm simply going to tell you a wee story that goes back to the 1990's. Yes folks, all that time ago when I had all my own teeth and real hair!
I was a student at Edinburgh College of Art and nearing the end of my 'stretch' in the drawing and painting department. Like many art students, I was feeling extremely deflated and disillusioned by the whole experience. In an attempt to cheer myself up, or perhaps remind myself of what it was all about, I sought inspiration from my contemporaries and so embarked on a secret snoop round the other student's studio spaces. I naturally started with the final year students as, nearing the end of the process, there was bound to be something spectacular from which to learn everything. Alas, nothing springs to mind.
And so, and this is the important bit as it may have been the most significant move I ever made at Art College, I decided to look at the work of the younger students....the next generation.
After a spell of searching and searching, I found what I was looking for, and it was the most eye opening work I had seen in the whole four years I'd been at ECA. This work was by a Norrie Harman of who I knew nothing about and didn't need to. I just new his work was the 'real deal' and the images I saw that day and the name stuck with me.
Now, some fourteen years later (and long-time over-due) his first solo exhibition in Edinburgh the aptly titled 'Way Out West', is now on display at the gallery.
In the lead up to this outstanding exhibition of drawing and painting, we have learned much about Norrie Harman and his 'story' which, like his work is wholly compelling.
But for now, all I'd like to say is that this son of a butcher has more than earned his stripes.

Speak soon.

The Itinerant Painter

Hello everyone,

The new exhibition, 'The Onslaught of Autumn', has got off to a flying start with a very well attended preview last Thursday, and lots of interest in the beautiful paintings we are showing.

One of the artists that is enjoying a particularly high amount of attention is Tadeusz Deregowski. 

Born in Zambia, raised and educated in Scotland and now living in Brazil, Tadeusz Deregowski is one of a rare breed of artists.

He lives a truly nomadic existence, travelling the world with his portable kit, painting those things that interest and inspire him.  Deregowski creates a painting every day, wherever he is in the world, and stores them in his home made cases so he can move them even when still wet.  Trained at Edinburgh College of Art, he is a fine artist in one of the oldest of artistic traditions – that of the traveller painting what he finds around him.  He is a painter of the highest quality creating beautiful little paintings, each of which is dated for the day it was produced.

Have a look at this:

'View from B&B, Elgin (11 July)' oil on board, by Tadeusz Deregowski.

And this little beauty:

'On the way to Nethy Bridge (17 July)', oil on board, by Tadeusz Deregowski.

I'll let Tadeusz himself explain:

‘My interest is primarily in recording my subjective responses to places, buildings, things and people. 

The subjects which appeal to me most are places which are in some way hidden or mysterious: one of the central functions of art for me is the revealing of secrets. Cities which are seldom visited or the places off the tourist circuit hold more interest to me than more obvious sights,  and I love to use art as a form of, and motivation for, exploration. Similarly, I love to use portraiture as a way of studying people in their environments, attempting to show their inner lives.

I see my work in the line of both travel painter-diarists such as Edward Lear or Turner, and expressionist painters such as Bonnard or Joan Eardley: I have a little portable kit with which I can easily transport materials and wet paintings.

I have a daily routine of producing postcard-sized or even credit-card sized paintings on card. These are painted plein-air using oils.

The idea of being a sort of itinerant, travelling painter, a la Turner, is one that I find immensely appealing, combining as it does the roles of explorer, artist and holidaymaker. I intend to spend a considerable amount of time in the future pursuing longer and longer trips. Next I shall go to the UK, after that I’d love to visit the USA again, Chile, Iran, the Caucuses, Japan and more of Brazil.

I currently live in Florianopolis, in southern Brazil, but I often travel, usually to Europe or within Latin America.’

A great painter in the finest traditions.

More to follow on the other fine artists who have contributed to 'The Onslaught of Autumn'. 
 

It's A Tough Job, But Somebody's Got To Do It....

Hello everyone

The blog has been a bit quiet of late because I have taken advice from the wise and caved in to the pressure to create an 'official' Union Gallery facebook page.  Feel free to 'like' it or become a friend there.  To be honest, I've had trouble adjusting to it: until now all social 'meeja' stuff has been done by me, a person, and have been personal observations and thoughts which I hope have been done with some kind of insight and empathy.  Trying to post messages on a facebook page as another brick in the wall, or as a fly on the wall, really isn't my style.  I can do measured, but I like a bit of passion too.  I am sure I'll get the hang of it so please bear with me.  However, this particular blog has been brewing for quite some time and really can't come from the viewpoint of a brick....so here goes:

I want to write about what it entails to be an artist.  I say it's been brewing for a while, but like most artists it's probably played on my mind for as long as I can remember and, until now, I haven't really had the means to express it.
Possibly it's all bubbled to the surface now as I recently attempted to catch up on some painting of my own.  Until now it has largely been a secret that I went away for a weeks worth of art 'boot camp': because I feel guilty when not at UG, which has become very much my 'second home'...a second life-line if you like, I had been neglecting my painting.
I got quite a lot of 'stuff' done at boot camp and, although I found it somewhat traumatic (to say the least), I am very glad that I did it.  I took an awful lot away from that week, the most important thing being that I reacquainted myself with the harsh realities of what it is to be an artist.  This may sound a little strange or even over-dramatic, but seriously it's a tough job.  And it really is a 'calling'.
I am sure many artists have, in their time, experienced comments such as, 'it must be great to be doing what you truly love', or 'I wish I was gifted'.  Well, yes and no.....I've often thought of it as something more like a curse than a gift, an addiction or, at its worst, an abusive relationship.
There is no doubt that if you are a creative type, that menace inside you will not let you be.  It is a calling and it will niggle and goad you until you do something about it.  At boot camp it brought home to me again just what a strange and uncertain profession being an artist is.  It's a lonesome occupation, often involving long, unpredictable and unsociable hours.  Indeed, many artists have to juggle their calling with other jobs, so that they can subsidise the making of their artwork.  It's often dirty, smelly and involves all sorts of nasty chemicals that we are told to avoid:

Then there's the self doubt and personal angst/torture that is compounded by working in solitary conditions.  What am I doing?  Is this any good?  etc. etc.  Then, there's the best part....it's often unpaid!  Any artist will tell you that it's an expensive business; paint, brushes, canvases and frames all cost an arm and a leg, and it all adds up.  The cliched image of the starving artist all alone in their garret is not so far from the truth....

However, just like any addiction, there are fantastic highs:
To create an artwork that is truly unique and which you believe to be one of the best you've ever done is enthralling, exciting and totally untouchable.  If an enlightened individual gets that kick too, and invests in your creativity....well that really is the ultimate high.  And yet the majority of artists who are true to themselves will carry on regardless of sales.  You develop a 'thick skin' and continue to battle on with your 'gift'.  one day I will post a blog about thick skin syndrome - I promise it will be shorter than this one!

I thought I would leave you with my picture of the week:

This is the seriously gifted artist Norrie Harman.
Norrie graduated from ECA in 2001, and won a number of prestigious awards whilst still a student - a remarkable achievement.  I am really pleased that his work, which has not been seen in his home town of Edinburgh for many years has been so well received.   In this informal, relaxed photo, I feel that a lot of that worry and self doubt is captured perfectly.  To be fair, Norrie Harman is most likely exhausted in this picture, having worked to the wire to get the work done, arrange the framing , travel from Leeds to Edinburgh to deliver it and attend a busy, busy opening.  It's only at the time of this photo that he finally gets the chance to reflect on all his hard work.  it was definitely worth it.

Leaving you with my other picture of the week:

From left to right: artists Norrie Harman, Sophie McKay Knight, Joyce Gunn Cairns MBE and David Hosie all looking genuinely happy and comfortable at the opening of their exhibition Head to Head at UG until August 1st.  Beautiful!

The Mustard Man

The current exhibition, 'Being Human', is now in its final week and, as usual when an exhibition draws to a close, I am experiencing higher than normal levels of anxiety.  I haven't had it this bad since Derek McGuire's solo exhibition, 'Ella Novo Loco'.  Such is the intensity of the work on display that I know I am going to feel quite flat when it is gone.
I thought it would be nice to take a closer look at, and celebrate all that is good and great about, a few of the paintings on display.

We have to start here:

'Man Standing with Yellow Background', oil on canvas, Audrey Grant, 2010
Gosh.  I confess that I struggle to find the words to explain the emotional connection that I, and many others, have made with this painting.  To put it plainly, something about this painting 'got me' as soon as I saw it, and it has conitinued to have an effect on me ever since.  Perhaps the strength of this painting is largely summed up by a note left by an admirer in Audrey Grant's vistors book:
'Audrey, you restore one's faith in painting'. 
I can't help but feel a great deal of affection for, and fascination with, 'Mustard Man' as I have knicknamed him, and I feel that a large part of that is fueled by some of the subtle details that make him so connected to the subject of 'Being Human'.

This perfect little finger is one of them.....

I have mentioned before that Audrey is a 'physical' painter: she fights with her materials to achieve her distinctive and powerful images.  Yet, in that intense and prolonged battle (Audrey's paintings are months in the making), you catch glimpses of real tenderness and a deeply humane attention to detail:

'Mustard Man' may well be a little lost, fragile, even 'up against it' in the world he inhabits, but looking at his perfectly and lovingly painted ear set against a yellow glow, it's clear that his maker was determined to send him out looking his best.  He will stand the test of time.

Finally, a big thank you to the kind soul who left us this beautiful orchid:

He explained that he wanted to give it to the gallery as he felt that we and our visitors would genuinely appreciate its beauty.  We most certainly do!  I have positioned it next to:

'Standing Figure', oil on canvas, Audrey Grant 2010.
Affectionately known as 'Socks', I thought that the flower complimented his colouring rather well.

Hurry back soon to discover some more about ECA student, Martyn McKenzie's work.  As someone has written in his visitors book:
'Your work is very special - you are very special!'
Couldn't agree more.....

Speak soon.

The Rat Race: Being Human, Martyn McKenzie

Hello Everyone

So last time we looked at the captivating work of award winning artist Audrey Grant.

Now it's time for the other half of this very 'on trend' exhibition, third year Edinburgh College of Art student Martyn McKenzie:

Martyn McKenzie beside "Marmaris Park Bar" during the installation of 'Being Human'

Boy, where to begin!
Firstly, I think you have to applaud this young man's talent, spirit and conviction. To take on the role of voyeur and translate feelings and scenes we have all experienecd through such young eyes is no mean feat:

"I often find people strange: their actions, the way they infest man-made environments, clustered together in buildings or moving fast across roads or railways lines...We have created such a surreal world: a world to entertain ourselves and to consume".

Well said Martyn. I'm pretty sure I am not alone in agreeing with you that I too find the world a very strange, even scary place (particulary just now) and like many others ask the common question, "what's it all about"?

"Moving Stairs" 2010, oil on board by Martyn McKenzie.

How often do you want to scream out when life becomes increasingly pressurised and the expectations of us as humans becomes too much? Unless you're very lucky we've all been there.
I recently found out that Martyn is the third year students painitng rep at ECA: good choice folks. Martyn is a 'do'er', who gets on with the job and delivers results.

Martyn MacKenzie's talent doesn't just stop with paintings like:

"Ice Cream Break" 2010, oil on board. This painting  shows an  interest in music and live gigs. A little further probing and it turns out that Martyn is a fine musician too. Watch this video - Martyn is not only playing the guitar and singing, he actually wrote this song, "Carousel". At the risk of sounding a bit Cheryl Cole...I'm proud of you Martyn! Enjoy.

http://vimeo.com/19725058

Being Human: Audrey Grant

Sadly my blueberry had a melt down at the New Year.

So tragically I have lost precious footage of the development of award winning artist Audrey Grant's body of work. It was fascinating and compelling to see the work unfold.
One has to admire Audrey's total commitment and determination. She battled through an horrific winter everyday to her not exactly warm studio. Any artist will tell you that this can sometimes be a thankless and solitary experience. Some days you go in, put in hours of draining, mental (and physical) work and are left feeling utterly demoralised. As Audrey's paintings take months to develop, she has been working on this exhibition for a year. She is a 'physical' painter, who fights and nurtures her paintings every step of the way, and that can be an exhausting experience where often the hand to eye coordination can't keep up with the brain.
I think it's fair to say that you can feel that intensity and perfection from the work. So, looking at Audrey's paintings is also an experience- both moving and enlightening. These are important paintings to spend time with and contemplate and in this increasingly stressful world, I think Audrey's paintings will strike a chord with everyone. After all, we are all mere mortals making our way through the world. When I look at Audrey's work there is a startling familiarity. I recognise and empathise with the fragility, the awkwardness, even the loneliness of the nameless figures captured in paint:

"Man Standing with Yellow Background", oil on canvas. Audrey Grant 2010.
I look at the above painting and actually think, yes, I know that....I've been there.
I am so grateful that there are artists like Audrey Grant who have a gift in translating these raw emotions through canvas and paint.

I would like you to experience these paintings too.

Next time we will be taking a closer look at the work "Being Human"'s other half, ECA student Martyn McKenzie.

In keeping with the 'Being Human' theme I thought it would be nice to introduce a few inspirational and unsung heroes:

This is Tony. Tony had been a BIG ISSUE vendor for 6 years and has a wealth of life-experience stories. Day in, day out, you will find him outside Tesco's at the bottom of Broughton Street. I'm sure a lot if you living in Edinburgh will instantly recognise his 'well kent' face. Tony is always smiling and genuinely enjoys his work: I always find a bit of banter with Tony puts a spring in my step. I also owe him a huge thank you for looking after the Union Gallery hounds when I pop in for the groceries. Particularly Harry, the crazy and rather difficult Dalmatian. Please buy your Big ISSUE from Tony.

Lastly. Masses of best wishes to our dear friends Mr and Mrs Gough who's baby twin girls were born on this day 2011. Congratulations!

Good News!

Hello everyone

Have a wee listen to this:
http://news.bbc.co.uk/1/hi/programmes/hardtalk/9052099.stm

Edward Dolman is the chairman of Christies who recently sold an important Picasso painting for £34.7 million, setting a new record for a work of art sold at auction. As with Giacometti's "Walking Man" earlier on in the year, I narrowly missed out on my bid.

Earlier in the week the BBC were reporting form a gallery currently showing the work of Timmy Mallett. Again, they discussed how art is increasingly becoming an attractive investment in these challenging times.

Sadly, I do not represent Picasso, and I'm pretty sure there are no Mallets in here! However, there are some extremely fine yet powerful paintings on display in the current exhibition, Landmarks II.

Take a look:

On the back wall is the work of 3rd year ECA student Martyn McKenzie who I have a lot of admiration for.
I think he has a very intuitive style which is quite a mature skill in an artist. He has great control of the paint and I think could give me a run for my money on the old landscape front! When he talks about his work he does so with sincerity and conviction. At only 22 I think Martyn is going to be a very special painter.

Have a good weekend all x

Autumn Watch

Hello everyone

As always a warm welcome to our latest blog follower - hope you are well.

Continuing on the Autumn theme folks, I think I mentioned previously that this is my favourite time of the year to be out in the landscape. Autumn is a landscape painters paradise: amazing cloud formations, glittering light and enriched, enhanced colours.
I'm itching to be out in the wilderness currently, however meantime I am content with my usual stomping ground - Inverleith Park. In between throwing balls and scooping dog poo, I was amazed by this:

Ok, it's been amateurishly and hurriedly snapped, but I hope you "get the picture" (apologies for another feeble joke). I can categorically assert that the sky has not been enhanced or tickled with in any way....that's beyond my capabilities. Seeing this sky immediately made me think of:

"Morning of the Autumn Equinox". An exceptional and eerie painting by award winning artist Philip Braham.
We will see more of Philip's work next year....will keep you posted.

I have to confess to being annoyed with myself for not managing a couple of pieces of my own for "Landmarks II". I knew all the work coming in was going to be superb, but seeing it all hanging together, it really is quite beautiful. I would have loved to be a part of it. Take a look at this:

"Winter Solstice in the Strath" by Hazel Cashmore.

All the way from Thurso, Hazel Cashmore's latest paintings are truly gorgeous. I've been studying her "land meets sky" precision- and she really is the expert. I have also realised that, apart from the brilliant painterly qualities, she is also an expert with colour. These are colourful paintings, yet Hazel's discerning eye and control ensures they are never "shocking" or over the top. Her paintings are both dramatic and sexy, not to mention well observed.

Speaking of drama:

"Big Buachaille" by Beth Robertson Fiddes.

Wow....big skies, roaming mountains, it surely doesn't get better than this?

Of course I want you to come in and see all the paintings for real. This piece for example has exquisite collage work that you can't see here.

Next up. We will be taking a look at 3rd year ECA drawing and painting student, Martyn McKenzie. He's really, very good!!

Have a good weekend.....

Busy Blog!

Hello everyone

Well it's been a busy old week here at Union Gallery - don't forget there's still time to come in and view the treasures from the current exhibition "Summer Cocktail". You shouldn't miss out.

Sunday:

Care of my wonderful friend and brilliant writer, Chris Docker, I attended the screening of The Man Who Would Be King. My mission...to press gang Sir Sean Connery into buying an original artwork to mark his 80th birthday....alas, I failed. Happy Birthday anyway Sir Sean.

Monday:

Had a wee look round an exhibition opening at the Craigmillar Community Arts Centre. I was genuinely inpressed and so happy that a community had become so close through a shared interest in art.

Tuesday:

Another talent search, another opening.

Wednesday:

Early morning studio visit to award winning artist Olivia Irvine in preperation for her part in Union Gallery's Festival exhibition (tip...it's going to be AMAZING). I always love coming here:)

Later that morning did a spot of moth watching at the studio of deadly talented Dylan Lisle. He's coming up next in truly spectacular form, but for now here's a little teaser:

Simply superb. Later that evening I attended a talk by acclaimed artist John C Brown on his latest print for a fundraising drive for the excellent charity Art in Healthcare. Unfortunately I discovered that it was in fact the next night.....back again! I'm sure Art in Healthcare's assistant director Trevor Jones will find this highly ammusing.

Finally - some footage from last weeks Artists party/Union Gallery's first birthday.

Alan McIntosh from our favourite local paper, Spurtle, beside artists Olivia Irvine and Lisa Petterson. Amazing landscape painter Hazel Cashmore is just disapearing off on the right. Maybe I should have cropped the empties.

Lovely 3rd year ECA student Martyn McKenzie on the right. Winning smile!

Stunning artist Laura Homoky sporting a rather fabulous Maxi dress....I want one!

Personal & Magical Spaces

Hello everyone.

As often happens, I found myself sneaking into the gallery early this morning and those of you who have already visited will understand exactly why. Indeed, some of you have already made a second visit! The paintings on display are definately the kind to spend time with.
I am so pleased with how the gallery looks just now. It feels both magical and mysterious with the works of Olivia Irvine and Fiona Jappy gracing the walls.The work of both artists is complementary and have similar motivations, however the resulting paintings are very different, offering an exhibition of contrasting beauty and style.
Here are a couple of personal favourites...the curators choice if you like:

"Passer-by" by Fiona Jappy.
I am becoming quite obsessed by this piece. The skill and painterly technique here is second to none. It's so soft and mysterious.....a really beautiful painting.
And:

"Reception" by Olivia Irvine.
I think "Reception" speaks for itself.

"Reception-detail"

I Just wanted to point out how well this piece has been executed.
Both artists have worked incredibly hard for this exhibition and we are very grateful for all their efforts. This show has been months in the making and both Olivia and Fiona have painted with honesty and conviction which, I believe, to be one of the factors that that makes this exhibition of such high calibre and so special.
In the months leading up to the exhibition we were lucky enough to have been able to visit Olivia's studio a few times. I love studio visits and find them invigorating and inspiring. It also reminds me of what being an artist is all about. I think it's important to visit the artists' studio, as you can get a real sense of the person and can "bond" with the work on a new level. Working towards an exhibition is a very solitary and doubtful time for an artist and I believe it helps for someone else to come in and say the work looks amazing and that you should be proud be of yourself. You also never know what you might come across. Sometimes you stumble across a little treasure that no one else has ever seen before....amazing!
As any artist knows the studio space is a deeply private and personal place. I know that many artists have, like me, experienced the extreme highs and lows in their place of work. All artists are different: I personally like to go into the studio (although sadly it's been a while) for a long "stint". I sometimes think it like a time warp where 4/5 hours can seem like half an hour. It's almost like being in a trance: you are so focused on what you are doing, everything else is blocked out.
Anyway an artist's studio space is where all the action happens. The space where you can get a euphoric rush when a painting is going so well.....it could even be you best work yet! The place where you discover a new technique, a perfect colour combination or a beautiful texture. It's also the place where I know many an artist gets a heavy heart and give themselves a brutally hard time. If it's not working, then you're rubbish and not trying hard enough. I'm also pretty sure that many an artist has experienced that sinking feeling when you think you have completely ruined a piece: it all happens in the studio.
Unfortunately, we were unable to visit Fiona's studio up in Elgin....although it may still happen! I would love to get in there. I want to see and experience at first hand the place where an individual creates works of such "desolate beauty", as a recent gallery visitor described them. However, we are lucky enough to get this sneaky peek into the world of Fiona Jappy.

Just like Fiona - very tidy and organised. I smiled at the little blow heater....a must in many a studio during the winter months.
I happen to know that Fiona becomes so engrossed when working on a new body of work that she will get out of bed at 2.00am to write down an ideas or sketch. Again, part of this exhibtion includes Fiona's and Olivia's sketch books,working drawings and even personal effects that helped inspire the works. Definately worth a look, they give a fascinating insight to the mind of the artist. Fiona's work is an autobiographical account of her return home to Scotland after a lengthy period painting in the States. Her "true" sketch book doubles up as her personal diary so we are unable to share that with you. but we have some intriguing drawings and pesonal notes which I find fascinating. I love spotting little "clues" in her research material that appear in the final paintings:

It's difficult to make out the shadowy figure in "Elsewhere", but it is a good example.

I was at Edinburgh College of Art the same time as Fiona, and those in the know could tell her work was special.

Here is a little insight into Olivia Irvine's personal space:

I got very excited in here, although I did my best to hide it and remain cool-ish. On first viewing Olivia's work I can honestly say it was love at first sight. The response was instant: a combination of excitement, intrigue and total appreciation. Olivia's work gets a similar reponse to Henry Kondracki's "Ice Cream Van" and "Dofos" paintings. I just wanted to marvel at more and more of her work. As with Fiona, Olivia paints with total conviction, with themes of home, family holidays, her children, childhood and play providing a constant inspiration. Olivia's work is magical and captivating and her studio space is exactly the same. You can feel the energy in Olivia's studio and you can't help but pick up the little dollies and clothing that appear in her work.

"Golden Chain".

To me this painting is an entire fairy tale in itself which you could wonder about for a life time. I am in awe at how the dressing table mirror has been painted and of the light pouring through the windows in the foreground.

I took this detail from "Golden Chain" as I find it fascinating.

Olivia Irvine paints in oil and egg tempera, always making a controlled decision on where to use the egg tempera. Indeed, Olivia's work in egg tempera has led her to be considered an expert in this ancient field of practice by her peers. I, for one, agree.

Waiting!

Hi everyone.
Hope you all had a lovely, relaxing Christmas.... I trust you didn't overdo it with the turkey.  I am very excited readers: today sees the arrival of all the new work by award winning artist Fiona Jappy. She and her dad are making the journey down from Elgin as we speak. I am relieved the weather has improved as it was not looking good for them last week.  Anyway, it is very exciting for me as the Fiona Jappy & Olivia Irvine exhibition will be the first of 2010 at Union Gallery. It kicks off a new year, and I have good feelings about the next 12 months with lots of hopes and ambitions for both gallery and artists. It will be wonderful to finally see Fiona's & Olivia's work on the walls....both have been working flat out for months and I am very grateful for their efforts.
This is also a special exhibition as the 3 of us have been connected through art before.....a whopping 10 years ago at Edinburgh College of Art. It is great for us to have been reunited through the gallery. Indeed, many friendships and partnerships have been re kindled and made in the last 6 months.
Will keep you posted on more from Fiona and Olivia soon.
Oh, there will be a nice pressie for Union Gallery's first footer (we will be open Jan 2nd); this will become something of a tradition. Again will keep you posted.

"Distant" by Fiona Jappy. Melancholy yet very beautiful.
..........waiting........waiting.......
They have arrived safe and sound and bearing little bundles of joy! I have to say not only has Fiona worked tirelessly for this exhibition she's been uber orgainised. Even her wrapping is precise and neat.
Bundles of joy:

Wow this is like Christmas all over again!

This is Fiona Jappy. Please take a look at her green coat. Some of you might spot it making an appearance in one of her paintings.....you will have to find it yourselves....I'm not helping you.

I spent the remainder of the afternoon in my element playing with my new "toys".

Trying to single out some favourites which is not easy.  However, the following little gems could be contenders

"Roadside"

"From Here to There".

Tomorrow will see the arrival of Olivia Irvine's work and it will be Christmas all over again. Super!

Unexpected Places

I am sure we have all noticed that winter is making an appearance. This involves us all putting up with dark nights and dark mornings for a while. However, winter can also be an inspiring time of the year and can sometimes throw up the odd suprise. The other morning whilst being given the run around by the gallery hounds I came across this.....

A brave Chrysanthemum still proudly holding it's head against the elements. It's growing alongside a tree stump on the banks of the Water of Leith. How did this wee fella get there?

I also noticed these....

Gorgeous Michaelmass Diasies that have set up home next to Inverleith Pond. Always a welcome blast of colour. I find daisies such a cheery flower....right up there with daffodils. The bee in the photo was completely lifeless. I guess he has done his work for the year.

Anyway seeing these flowers put me in mind of Jenny Matthews. She too gets a kick out of finding flowers in unexpected places. Jenny paints flowers but with a bit of a difference. Her work is exquisite and skillful, yet is not overly controlled or tight like traditional botanical studies. Jenny works in watercolour which, as anyone has ever attempted it knows, is not an easy medium to master. I think Jenny Matthews brings out the best in both subject matter and medium. The paintings strike a delicate balance and have a real life to them. This probably has a lot to do with the fact she always works from real flowers which can be a challenge as so many are seasonal. She has to be pretty organised in her work and often makes detailed studies that can be worked into finished paintings at a later date. The background in her work is also important, being impressions of where her final subject matter was found. The next image shows actual Michaelmass Diasies and captures their charm perfectly.

"Aberlady, East Lothian Theme".

I loved this painting when I first viewed it and got even more excited when I noticed the tiny shells interspersed amongst the flowers. Perfect.

And this beauty.....

"Alkanet, Welsh Poppies & Bluebells".

I had an on going battle with Welsh Poppies in my garden this year. They won! I now admire their perseverance and anyway a bit of colour from spring to winter is no bad thing..... I am sure nature knows best.

Jenny Matthews trained under Dame Elizabeth Blackadder at Edinburgh College of Art and you can immediately see the tutor-student influenec which is not uncommon. Jenny Matthews is having a solo exhibition with Union Gallery in May 2010. I am really looking forward to it as, having emerged from the dark dreary winter months, we will be in need of a spot of colourful nature at it's best.

Landmarks: Mixed exhibition of Contemporary Scottish Landscapes

Again, we are still trying to fill you in with what's all been going on at Union Gallery...nearly there!  So time now to let you see a few gems from our current exhibition "Landmarks".

"Autumn Field" by Georgie Young.

I have admired Georgie's exceptional landscapes for many years. Indeed her work has on occassions been know to upset me. As a landscape painter, her style is very much how I would like to paint and it's only been a few years since I have accepted that I simply can't paint like her! The above painting demonstrates why I am such an admirer of her work. This piece "sings". To me everything is spot on: colours and pallette, composition, texture and brush work. No doubt Georgie worked very hard on this piece and the result (in my opinion) is flawless.

It has an obvious "autumnal" theme and I am sure I will not be the only landscape painter who finds this the most inspiring time of the year. Here in Edinburgh, we recently experienced the most beautiful of autumn days. So perfect it was that I decided to get out the camera (I am dreadfull with a camera) and "treat" you readers further afield to some lovely images of Edinburgh in autumn.

"The Bush". I have taken a photo of this shrub every Autumn for the last 3 years. Like the foliage I referred to earlier in Derek McGuire's painting, I haven't got round to finding out what it is called! I just know in the summer (I take a photo then too) that it's covered in beautiful blueish flowers and in autumn the leaves turn a georgeous gold-red colour. Any suggestions?

Visited Inverleith Park and took a couple more poor snaps....

                                         

Anyway the sun had brought out lots of people for walks

and there was a really happy atmosphere. The next 2 pics

put me in mind of...........

Henry Kondracki's little gem "Girl with Swan". I love

how he has this gift of capturing really special moments.

I think it's comforting to know we have artists that can

capture moments like these on canvas.

Back to the exhibition:

"Outer Margins" by Dorothy Bruce.

Dorothy was born in Minneapolis. She travelled and painted extensively in the States and Australia before making Scotland her home. The changing light and scenery of the Northern Highlands are a constant source of inspiration to her.  I like this painting a lot and I am lucky enough to get to look at it everyday in the gallery. I like it because even with such strong colours, the piece has a really calm feel to it. It makes me think of a late evening in the height of summer and perhaps the only noises around would be birds or crickets. Nice painting.

Next up:

"The Trek" by Drummond Mayo.

I was lucky enough to grow up with an original Drummond Mayo painting on our walls.  Much like Georgie Young, he has been quite an influenece in my work. Another "wish I could paint like that" artist. Drummond has been painting all his adult life and is another artist that's not afraid to meet head on the medium he works with. This special painting showing a solitary figure embarking on a very long journey received massive attention. It didn't take long for a very thoughtful lady to purchase it for her husband who enjoys a spot of hill walking. Lucky man and nice present!

Now....

"Shadowed Sea" by Martyn McKenzie.

I was a tad reluctant when 2nd year student at Edinburgh College of Art Martyn approached the gallery. I felt his efforts should be focused on concentrating on his degree in Drawing & Painting & Sculpture....it's hard work! However he came back a second time and I admired him for this. The work already existed and he explained the work was quite special to him and that he wanted people to see it.We agreed that it should be seen and that it would do no harm for Martyn to experience showing in a gallery. He is also a very fine chap and from what we have seen of his work, a potential name to look out for.  We will be ceratinly be at his Degree Show! Again it didn't take long for someone else to spot this new talent. The lady who bought "Shadowed Sea" is looking forward to taking it home at the end of the exhibition.

Ending on another "gem".

"Yellow Tree III" by John Carberry.

It's generally agreed that nothing beats seeing "the real thing", however this little beauty can hold it's own as a jpeg. It's not a huge painting but it's got loads going for it. You can see from this image the wonderful mark making and texture. I personally enjoy a painting where you can see the brush strokes, it enhances the life in it. I also like the clever composition. A less is more number...... you are invited to walk into this piece and duck in and out of the trees. A nice little painting.