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. 

 

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.