The Big Wheel Keeps Turning

Hello everyone,

I hope you are all making the most of the sunshine and getting out and about. If so, VISIT UNION GALLERY NOW to see FUNPARK!

A piece in the exhibition which gets a lot of attention is this:

'Ferris Study II', screen print on aluminium, by Robin Goodall.

Earlier in the year, Robin Goodall and Norrie Harman went to Berlin to investigate the spooky Spreepark on the outskirts of the city.
Spreepark, or Kulturpark as it was know in its hey day, was built in 1969 in what was then East Germany, and was the only amusement park of it's kind in Germany.
One of its most famous attractions for the thrill seekers who visited for over 30 years was the giant Ferris Wheel which offered breathtaking views at a staggering 150 ft.
Spreepark, however, has been abandoned for the last 10 years after it was declared insolvent, and the park has been allowed to fall into disrepair.
In his screen print, Robin Goodall has captured the ghostly and desolate appearance of the Ferris Wheel perfectly - a fitting tribute that is both sad and proud, retaining some of the splendour and comanding presence of yester years.

Robin and Norrie hired bikes in order to get to Spreepark and on approach, but before actually seeing the Wheel, they could hear it creaking and slowly turning in the wind.
I like how Robin has given a fair nod to the formerly loved structure that enthralled so many people for so many years. It's as if the gargantuan structure cannot accept its fate and refuses to yield, still turning under its own steam but without the trill seekers, sad as if trying to relive its former glory. Or maybe it's just showing us its work ethic....after all, the show must go on.

And Now for Something Completely Different.....

Come along on Thursday evening: be prepared to be amazed:

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. 

 

There's More Than Meets The Eyes to Kim Kim

Hello everyone,

In my last blog, I promised to introduce you more closely to some of our 'special guests' in award-winning artist Norrie Harman's solo exhibition, 'Way Out West'.

We have to start with this:

'Kim Kim', Watercolour and Indian Ink, by Norrie Harman.

I was smitten the first time I saw 'Kim Kim'.  This mysterious and attractive young woman in an almost Goddess-like pose, with her protector at her feet, captivated me immediately.
Initially I was bowled over by 'Kim Kim' simply as an exceptional example of drawing and painting, yet even at first sight I knew that there was more to her than meets the eye.  It's interesting that, on first impression, viewers of Norrie's work cannot escape his hard-hitting and powerful imagery.  Strong and confident images, of course, but also beautiful and sensitive, definitely menacing, but ultimately real and meaningful.

'Kim Kim', detail, by Norrie Harman.

You see, at the risk of taking away all the magic and mystery, 'Kim Kim' is a fragment of Norrie's childhood memories.  Kim, as she was usually known, was the daughter of the first Japanese family ever to move into the Wester Hailes area, where Norrie grew up in the 1980's.  She and her family obviously attracted a great deal of attention and interest from the other residents of the tight-knit and sometimes suspicious community.  Kim may have been exotic, but she was also different and something of an unknown.  Her life, and that of her family, was pretty difficult and so they enlisted the support of a Doberman dog - traditionally an attack dog - to offer some support, security and perhaps even friendship.  Coincidentally, the Harman family also had a Doberman at that time, a bitch called Kim, whose role was also to offer security and companionship.

It took a while for the penny to drop, for me to understand the significance of the blindfold in the portrayal of 'Kim Kim', but now it's so obvious it's painful.  In the privacy of her own space and with her best and perhaps only friend at her side, Kim attempts the futile gesture of disguising the fact that she is different.

I could be wrong, but if this painting doesn't demonstrate a deep-rooted sensitivity, and an empathy with the subject matter, then I'm not sure what does.

Hurry back soon, and if you're lucky we will take a more intimate look at one of Norrie Harman's more controversial works, 'Methadone Love III'.

Speak soon.

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.

We wait with bated breath.....

Edinburgh's own, Norrie Harman, takes to the walls.

Endless Possible Futures

Hello everyone,

I've been thinking lately that the month of January gets quite a lot of bad press.  Sure, it can be grey, cold and tight financially, but lets face it, it is just a month in a man-made calendar and surely it can be just what you make it?  Perhaps we should enforce some mind over matter.....

On Tuesday, here in Edinburgh we experienced the coldest day so far this winter which, of course, is to be expected at this time of year. But it was also a beautiful day with bright blue skies and, dare I say it, a welcome appearance from the sun!  So it may have been cold, but it was also a day to feel positive about the impending arrival of Spring in a month or so.

At UG we are also feeling positive and excited about the amazing exhibitions we have lined up for this year and about what the future may bring.  I've been thinking a lot about this high voltage number and believe it sums up out positive state of mind:

'Endless Possible Futures', oil on canvas, by Patsy McArthur.
Award-winning artist Patsy McArthur will be having a major exhibition with us in the 'endless possible future, and it will be a belter.  But as we all know, the best things come to those who wait....

In the  meantime, if I have failed to persuade you that January is not a really shite month, the have a look at what else is coming up:

A truly inspirational and beautiful start to the year.  Not to be missed....

Blimey!  And then we have this:

'Ragged Robin', oil on canvas, by Cathy Campbell.
Folks, if Glasgow-based painter Cathy Campbell's still lifes don't melt your heart, nothing will!  Subtle yet powerful, I believe that Cathy's paintings are a metaphor not just for the artist, but for many of our lives - a highly skilled and unique talent that speaks a universal language.  There is a lot of interest in Cathy Campbell's first solo exhibition in Edinburgh and we want to share it with as many visitors as possible.  So don't be shy, come and be inspired in March.

And here's a lovely photo of artists Kevin Low and Stewart Bremner finalising details of their exhibition, 'Worlds Apart', which will open on Kevin's birthday, April 5th.  It won't only be a party to remember, but a stunning exhibition to boot.

We've only tickled the surface of UG's delights for 2012, so stay tuned to learn more about award-winning artists Jenny Matthews and Janet Melrose RSW, and brilliant artistic assassin Norrie Harman.

Speak soon.

Mirror Mirror On The Wall

Hello everyone

So as the 'Head To Head' exhibition comes to a close I'd like to finish up with a nod to this special painting:

'Mirror Mirror On The Wall', acrylic & screenprint on canvas by Sophie McKay Knight.

Yes, I think it's fair to say that 'Mirror Mirror' is one of the fairest paintings on the wall, and in an exhibition that has proved to be another high point for Union Gallery.

A huge thank you to artists Sophie McKay Knight, Norrie Harman, Joyce Gunn Cairns MBE and David Hosie.

Joyce Gunn Cairns 'Chrysalis'

Hello everyone

I hope you are well and enjoying the Scottish summer time....better late than never!
Speaking of which, the current exhibition, 'Head to Head', is now in the final week, so you still have time to come in and see these remarkable artworks.
I've noticed something about this exhibition that I haven't really considered before - it requires an element of silence to experience the work fully.
Perhaps this is due to much of the work being so 'emotionally charged', artists Norrie Harman and Joyce Gunn Cairns being brilliant examples.
Lets have a look at this:

'Chrysalis, Self Portrait' oil and pencil on card by Joyce Gunn Cairns.

Now this work has received a lot of attention and perhaps doesn't require me to say that much about it. It's a strong and confident , yet hugely sensitive and revealing painting which I believe holds it's own.
However, I've been looking at 'Chrysalis' everyday now for nearly a month . It's 'got me', and I'd be loathed to say farewell without giving it the salute it deserves.
There is much to admire in this work and indeed in the artist herself. As an exercise in drawing and painting, I really don't think it gets better than this. For me, everything is bang on - the composition, gently dominated by a dignified and noble pose, mark making at it's finest and an informed and subtle palette....there is no need for over-intrusive colour here.
Then of course there's the title, 'Chrysalis'. I wonder if perhaps I feel such an affinity for this painting because it's a self portrait by a female artist looking honestly and reflecting on herself. Constantly growing, ever evolving, whilst embracing age and wisdom with grace and perhaps a little uncertain of the journey. Having got to know Joyce as a person, I think of her as a solo warrior, committed to producing work of the highest integrity and true to herself: driven, but always willing to support, share and educate her fellow artists and the wider community. It is not by chance that Joyce Gunn Cairns has an MBE....an accolade awarded from Buckingham Palace does not happen all that often and is reserved for only the best of the best.
So I'm going to end, having thought about it a little more, by saying that surely a painting like 'Chrysalis' does not appeal just to women?
Don't both men and women often feel the urge to stop, take an honest look at themselves and consider both their past and future?

'I suffer from the wilderness

I suffer in silence

A loss of identity

Adience'   

''Identity Of The Self" Anon 2009.

Speak soon.....

The Eyes Have It

Hello everyone

I hope you have managed to catch some sun in between dodging the downpours.

I wanted to steer your attention to some captivating and haunting gazes in the current exhibition 'Head to Head'.
First of all I'd like to start with a piercing stare that is not part of the exhibition:

Thia photo is simply called 'Afghan Girl' and became one of the most famous National Geographic pictures ever. Indeed, it was featured on the cover of National Geographic's Top 100 Pictures of all time. This 12 year old refugee's photo was taken in 1984 and her iconic stare captivated audiences for years. It was the first time anyone had ever taken her photo.
If you have never seen 'Afghan Girl' before you can read more about her here:

http://news.nationalgeographic.com/news/2002/03/0311_020312_sharbat.html

 I brought Afghan Girl into the equation as, on viewing David Hosie's 'Arabian Child' I immediately thought of her.

'Arabian Child', oil on panel by David Hosie.
Similarly, 'Ghanaian Girl II' thumps me with the same impact as Afghan Girl.

David Hosie has painted this beautiful woman twice now and she is a direct result of a field trip David made to Ghana last year.
Tired of the constant reports of economic doom and gloom in this country, David wanted to get a fresh perspective on poverty. I thought his trip to be admirable:the photos he sent back to us were pretty grave and I for one was also given a new perspective on what it is to be skint.

And look at these boys, and look them in the eyes:

and

These 'Young Spartans' look rough and ready and, for me, there is no escaping their gaze which is determined and yet vulnerable at the same time.

This next painting I definitely have eyes for:

'Bonxie', oil and pencil on card by Joyce Gunn Cairns.

Gosh, the haunting stare of 'Bonxie'.
After Joyce's work was hung a lot of time was spent simply experiencing this painting.
Now, there's a beautiful and moving story behind 'Bonxie', which I believe should be shared between the four walls of the gallery. For me, 'Bonxie' is a jewel in its own right and I am pleased, from the response, that many others can see this too. That there 'happens' to be an intelligent and sensitive seed behind 'Bonxie's' creation is an added bonus. Of course intelligent and sensitive is artist Joyce Gunn Cairns all over.

Next time we will be looking more at Joyce Gunn Cairns and the work of Sophie McKay Knight. In particular this treasure:

'Mirror Mirror on the Wall', acrylic and screenprint on canvas by Sophie McKay Knight.

Oh, and I want to leave you with another iconic gaze which is also captivating many people....

 
'Antonine Hill', oil on canvas by Philip Braham.
This painting will be shown in Phil's solo exhibition 'Still' which opens next month.

People are fascinated by people.

Happy Sundays x

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!

Hotter Than July!

Get ready for this.....

See you this Thursday 6-8pm for refreshments and some serious art!

The State of The Union

Hello everyone,

It's not by chance that I titled this blog as such.

As the Chinese curse says, 'may you live in interesting times', and we most certainly are. What a shame there's so many people out there scared about their and their children's futures, coupled with Mr Salmond's determination to march on and split us all up....we most definitely are living in interesting times.
At UG we just experienced our second anniversary and I've been a bit selfish and spent a whole afternoon reflecting on all that has happened. I'm no politician, I'm merely an artist. However, I do believe amazing things have happened in our 'happy space' in the face of diversity.
Establishing any business is a frightening prospect at the best of times. To do so in the economic doldrums is even tougher and involves many sleepless nights, but I revert back to my original message and genuine belief that, even in challenging times, good things can happen. This is something I largely attribute to the artists and gallery visitors....forward thinking, resourceful and enlightened individuals are very much the people to pull through in a crisis.
People pulling together, showing mutual respect and genuine support for each other in difficult times has proved to be a winner in this particular situation. In nature's terms...safety in numbers helps and it's easier to face the big bad world when you're not alone.
Briefly, when thinking of a name for our gallery, we struggled. It had to be definitive and something that could not be changed overnight. I found it interesting that there's Union Gallery's all over the world: Student Unions, Union this and that, the list is endless. However, here in Edinburgh, there's never been a Union Gallery until now, and ours is a true union of gallery, artists and visitors.
Hand on my heart, I believe that we are simply warming up. Union Gallery and the artists have so much more to offer. So far this year we have been enthralled and amazed by artists Audrey Grant, Barbara Franc and Janet Melrose. Who can forget this fella:

"Man Standing with Yellow Background", oil on canvas by Audrey Grant.

As we hit the hopefully not so terrible two's, we welcome award winning artist Colin Brown who's work excites and intrigues all who see it.
Next month sees four very bold and individual artists unite for the first time within the four walls, and I promise you it's going to be spectacular.
Here's a little taster:

The latest beauty from artist David Hosie.
I am especially pleased that we see the return of award winning artist Norrie Harman's work to Edinburgh. He is ready, his work is ready and I know you're ready!

Fear not, if you think things couldn't get better then you need to witness this:

"Love Letter", oil on canvas by the incredible Philip Braham.

Philip Braham's solo exhibition, "Still." will be showcased during the Edinburgh Festival. Definitely one not to miss.
All in all, I'm overjoyed and enthusiastic about the state of the Union.


Speak soon....

Various Visitors

Hello eveyone


I've been raking through some photos stored on my blueberry so thought I would show you some of the lovely people who have been through UG's door.
As it's the final week of Janet Melrose's solo exhibition it seems fitting that we start with the lady herself:

Janet popped in to over see some of the dot action: seen here not in those 'famous' dungarees. There's still time to come in and see what everyone is talking about. Thank you, Janet, for a truly magnificent show and for all your hard work.
We also recently enjoyed the company of arts writer and journalist Jan Patience who wrote the a very fine foreword to Janet's catalogue. Unfortunately I reverted to my 'old style' photography and managed to chop off part of her head (apologies Jan), so no photo here!
You can however, see what Jan looks like here:

www.janpatienceblogspot.com

Speaking of chopping off heads....

This is award winning artist Joyce Gunn Cairns MBE in her, at the time, tranquil studio. Joyce's studio is more frantic now as she finalises her exceptional work for our 'Head to Head' exhibition in July. I've been lucky enough to have been given a preview of the heads in question and am looking forward to seeing them on the walls.
Next up:

I also recently enjoyed the unexpected company of artists Stewart Bremner and Trevor Jones. Now Stewart looks rather apprehensive in this photo as he was about to over come his fear of flying to go to the States to participate in a collaborative exhibition with abstract artist Megan Chapman. Stewart Bremner has been incrediby busy of late and I look forward to his safe return and welcoming him, Megan, and his new work next week.

Dashing Mr Jones attempts to disguise himsef as a wine bottle. Discussions are in place over a ground breaking abstract exhibition to be held next year.
Last, but by no means least:

Ladies and gentlemen.....introducing the phenominal artist Norrie Harman.
Norrie Harman trained at ECA and is now based in Leeds, however I am extremely pleased to report that we will be lucky enough to see his work return to Edinburgh in July. If you look closely you can see a very cool tattoo of a greyhound on his wrist. Of course, he is a very cool individual himself.

I'm looking forward to receiving more various visitors over the coming weeks.