An Explanation

Hello everyone,

You might have noticed that, over the past few weeks, we have been blogging paintings by James Newton Adams, accompanied by poems written by Iain Finlay Mcleod.  I think it's time to explain.....

Writer, poet and award-winning film director Iain Finlay Mcleod spent time last summer as writer in residence for the Cromarty Arts Trust.  Whilst there, he produced a series of poems in his native Gaelic tongue, which artist James Newton Adams then used as the basis for a series of beautiful paintings.  Entitled 'The Cromarty Series', these works were then exhibited in Cromarty, and we are delighted to now have them at UG as part of our current exhibition, Poetic Licence.  The work is extremely effective, and the poems and paintings compliment each other superbly.  The Cromarty Arts Trust said: "We think the poems and images capture the essence of life in Cromarty in a beautiful way".  Praise indeed.

So, if you've been to Cromarty and want to be reminded of its charms, or if you've never been but would like to know more about it, UG is the place to be until 27 February.

Here's another one:

'Cul-de-sac', acrylic on card, by James Newton Adams.

Now I’m stuck.

They take parking

very seriously here.

I’ve messed up.

That man with the red car

he’s a liability

they’ll say.

Dawdling and revving

keeping everyone up

looking at the moon.

Cul-de-sac, by Iain Finlay Mcleod.

Speak soon.

Spread the Love

Hello everyone,

Well I'm afraid it's that time of year again folks.  There's no escaping Valentines Day!

Here at UG we believe that it's no more than a tasteless commercial frenzy, from which the likes of Tesco do very well indeed.
So, to counteract the tat we thought we'd highlight a couple of gems from our current exhibition, Poetic Licence, that are truly heartfelt, classic, and that will certainly stand the test of time:

'Shakespeare's Sonnet, oil and pencil on board, by Joyce Gunn Cairns MBE.

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds

William Shakespeare, Sonnet No. 116

Sensitive and regal, Joyce Gunn Cairns captures the intimacy of a genuine couple in love - beautiful.

Or, if you'd like something more intimate in scale:

'Home Is when I'm Alone With You', mixed media, by Imogen Alabaster.
With a title taken from the lovely song 'Home', by Edward Sharpe & The Magnetic Zeros', this is a beautiful little painting that gets its message across without submitting us to dreadful commercial sentimentalism.

You have until February 27th to come in and have a look at this wonderful exhibition.

Speak soon. 

The Boat in the Window

The Boat in the Window

Well. This is lovely

being in the window.

I don’t have to worry

about back breaking storms

barnacles and sprung butts

or fishscales on my deck.

I’m done with blood.

I’ve a fine view.

People like to see me

on their way to the harbour.

It does sometimes though

make me a little sad

when she opens the window

and I smell the sea.

 

by Iain Finlay Mcleod

'The Boat in the Window', by James Newton Adams.

Horsepower

HORSEPOWER

The horses look
at all that power
the classic car club
in strict formation
like men o’ war
painted and polished
good enough
to meet the Queen. 
'Horsepower' by Iain Finlay MacLeod.

'Horsepower', oil on canvas by James Newton Adams.

Ahab

AHAB

He’s not looking my way.
I know why!
Look at this beauty
and his creels are empty
And the village is watching
I knew it, I said
I’ve hooked this monster before
But people never believe
a man with his feet on the ground
will amount to much.
Get the chips on, darling
I’m king of the world.



'Ahab' by Iain Finlay Macleod.

'Ahab', oil on canvas by James Newton Adams.

Some Of These Things

'Golden Chain', oil and egg tempera on canvas by Olivia Irvine. 

Some of These Things

Imagine some of these things

Not just the glint of a hard, blue glacier

Nor the curl of wrought iron on a bench by the Seine

Not even the haunting music from a pink house,

Chanced upon on a midnight walk

But old, blotched walls

A carpet, faded and worn

A diving platform, a broken parasol, a creaky hinge

And a heart drawn hastily on a greasy window

Imagine and be there

Where the bright leaves dance in the tangled dell

And the rose trellises carve out spaces in the sky

Stay a while and touch the smooth, orange beacons

Left by lopped off branches on the crumbly trunks

Open the cupboard where the imaginary thing lives

Hit that soaring, plastic shuttlecock

Maybe you once had the shell I put in my pocket for a while

Sat on that same lonely, stony shore

And swung on that same peeling gate

Even so

I want to show you the actual tent poles and the signposts

The spotted dresses, the lampposts, the trodden path

I want you to see for yourself

The exact spot we hid the treasure

Feel for yourself the curl of the fine chain on your hand

The drag of a bag on the floor

The soft folds of that curtain drawn aside

Hear the ringing ankle bells

The buffeting whip of a kite

And the crisp turning of another page

Olivia Irvine               January 2012

Poetic Licence

'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.

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.