Showcasing creative images and their makers
Preview edition - April 2012
Painting by Luisa Ramazzotti
introduction A conversation with... Luisa Ramazzotti My Highland Winter by Jamie Grant Ben Walker : painter
Emma Mcgregor : photographer June Mcewan painter Marie Armi : painter
Bobbi Vetter : artist
Helen Craig : artist
BIPP / Towergate fine art competition Gerry Coe - photographer
Tales from the Nude by Roswell Ivory Tim Pile : photographer
Dancers in the Dark - a photographic study Open Studios in Scotland Coming later....
Exhibitions : p 72
The Art of Dance - Frames gallery, Perth
roamin in your gloamin - Delta Studio, Larbert
Welcome to the launch issue of iMoshe magazine. Why has imoshe come to be... ? I have been working with a number of artists for many years and have become aware that there were few electronic mediums where the diversity of work can all be seen together. There are many magazines and web sites that feature either paintings, drawings or photography etc but I felt that there was room for a single medium to show the diversity of artistic mediums side by side. Also many artists work in several different disciplines so imoshe aims to showcase their own diversity in a single publication, and importantly one that is free to read and share. Whilst it is an aim to have a bias towards artists working in Scotland there will be features of those working across the UK and abroad, and indeed the first issue is fortunate to feature a photographer in the West Midlands alongside painters from London and France. I am also keen to feature artists working in front of the canvas or the lens as they often play a significant role in the creation of works so to start we meet a model and writer who shares her experience of being an artist subject. When collecting content we are interested in why the images have been created, the inspirations behind the work rather than how they are made so if you have a story to tell please get in touch.. Much of my contact with artists in recent years has been through the Open Studio networks and so naturally these are featured in this mag, and one aspect that has made the open studios the success that are is that they give the public an opportunity to meet the artists and to see their working environment as for many the decision to purchase a work of art is heavily influenced by personal contact with the creator and the story behind the the work. All images are copyrighted to their creators - use of or reproduction in any way is only possible with the consent of the copyright holder.
Being the first issue I am sure that there will be a few things that are not quite right in the format or publication style but often the best way to test a new idea is to just put it out there, hopefully the content will make up for any technical or editorial imperfections. What I have tried to do is to make it as easy to digest as possible, more images and links than words, and a page layout that works well on small screens and Tablet & iPad devices. I am now looking at Kindle so watch this space. Note, if you are viewing the pdf on an Apple iPad try opening in iBooks where all the links work, something that doesn’t seem to happen on the native readers... come on Apple ! Finally this magazine has been produced entirely for non commercial gain with free submissions from folk willing to share their work, and if you do like what you see then please make contact with them as I am sure they will be very keen to hear from you. So, I do hope you get something from this edition be it an interesting read or some inspiration for your own work, and if you do please let me know... and a ‘like’ on the facebook page will be appreciated Dave Hunt Perthshire Scottish Highlands firstname.lastname@example.org
A conversation with...
Luisa Ramazzotti Perthshire
Photography : Dave Hunt
I first met Luisa back in 2007 after seeing a poster calling for artists interested in starting an open studio network in Perthshire. She was the driving force that created the committee and subsequently the first years event which was an instant success and is now in its 5th year going from strength to strength. A very energetic and inspirational Italian artist she now works from her studio in the grounds of her Blairgowrie home.
Luisa, before we start tell me what you had for breakfast this morning .. Oh, an egg from my hen in the garden, I only have the one hen left now, I did have five which were too many so I gave three away then sadly lost one recently so I just have the one .... and my dog Lunga of course. I have often wondered what lead you to becoming an artist... Thats from my childhood in Italy when I was very taken by a friend of the family who was a local artist, he used to come and have fish on a Friday for lunch, we were a very catholic family so fish on Friday was almost a rule in those days. This artist was encouraged and supported by my family, he was well know but did not have a huge amount of money so he was almost sponsored by us and we gave him a few commissions. He was always around and I was inspired by his attitude, he was very absent minded and I thought that it this was quite attractive and I thought wow, how nice to be with head in the clouds and thinking of painting and that was the beginning for me. It then evolved from there and I couldnâ€™t keep my hands off crayons and colours and pencils and paper, I was always in the shop near my school that sold those things, I didnâ€™t really have much belief in my abilities at the time and then a bit later on I landed in an art school and I thought that was just the best thing that ever happened to me. So who do you think that your biggest inspirations in life have been... As an artist ? Yes, and as an individual as well.... For artists it would be Alberto Morrocco who has been a fantastic mentor and supporter. (and) I met him when (I had my first child when) I was 29. He and and his wife became fantastic friends and I admired his integrity, his professionality and work ethic and productivity.
His son Leon is also a great artist. I admire the one mindedness and commitment and ability to keep evolving. To start with a fairly traditional academic background and create a personal language. And what about inspirations in life generally... Well, lets say I have my own way of moving on and be inspired to evolve, I am not strictly religious but I do have a very strong spirituality thats helps me find my inspirations, also I read a lot and find a lot of support in that Thats makes perfect sense, knowing you I can see that in your character.. if you had to create one significant piece of work, your personal masterpiece then what would it be, one piece of art created without the restriction of time and money. .. It would probably be quite large .. and that makes me think I could start doing it ... and it would involve a fairly elaborate colour development, ending in quite an abstract image with its inspiration very routed in some place that made me feel connected to life. Inevitably it would have to have light or represent some kind of light as in the sun, and hopefully it would be uplifting and convey some kind of connection to spirituality Looking at your work I see a lot of emphasis and strength in colour, how important is colour to you.. Colour is fundamental although I do not think I am an expert by any stretch of the imagination, I am learning and very much a beginner at putting colour together and some of the time it is accidental. Sometimes I can try for days on end and then I have to go back to basic rules which I think you need to know about . I feel the best work is made instinctively but sometimes we are not wired up correctly and something has upset you during your day or you are thinking
of problems and when you get to the studio you can’t quite connect to your inspiration, so you proceed by being a bit too mechanical and thats when colours don’t work. Colour for me is connected to your soul so if you’re connected and you are in a good place which I feel is essential for when you are creating then automatically you make the right choices and you play with it correctly. But if you are not connected then colours just don't work and its a disaster and you have to prop yourself up with colour rules and go back to the drawing board. Sometimes by analyzing what you are not doing right you can correct and do it right but other times you have to abandon the whole thing and go and do something else or forget about it and go back in the next day. I am talking about work that is inspired by imagination and not talking about work that is inspired by reproducing realistically such as a still life. I am talking about work that is based on imagination, based on memory, based on a recalling of a feeling of being in a specific location. What was the last exhibition that you visited.... I have just been down to London to see the David Hockney Into the Trees exhibition, I have never been a strong fan of David Hockney although I have admired some of his work and I was curious to go and see the work as it has had big publicity. I couldn’t believe the queues, I have never seen queues like that outside the Royal Academy but the exhibition is certainly worth seeing, the sheer volume of work and the variety of it and the colours, the courageous use of colour makes it worth it. It is very inspiring with amazing energy and amazing output.
I mentioned in my intro that the first time we met was when you were calling for artists for the open studios for which you were very much the influence and driving force in what has become a very big event, what are your views and your drive for the open studios in Perthshire ? My inspiration came from a friend who had opened up a magazine and saw an article on an open studio event which was running in the borders in Dumfries and Galloway called Spring Fling. I had never heard of this so I had a free weekend and decided to go and see it for myself. I spent 2 days and found it a wonderful experience, that was in 2007 and coming back to Perthshire I thought why donâ€™t we do something up here? At first I thought we didnâ€™t have nearly enough artists, I thought they were all around Dundee, Edinburgh or Glasgow because of the art colleges. I was part of Creative Perthshire that was started by Hugh Goring, the owner of Frames Gallery in Perth, and they had tried to put together a list of artists in the area that for some reason just lost strength, but this did give me a small list to start with so I rang them all up and asked if they were interested in starting something. Some thought that this may just be another idea that doesnâ€™t go anywhere but some had faith in me and were keen to
give it a try. I was also part of the Perthshire Visual Arts Forum (PVAF). We managed to create a list of nearly 50 artists, then we contacted the council and it grew from there and although I am no longer on the committee I am still part of it as an exhibitor which is wonderful. So, what dos the future hold for Luisa Ramazzotti. Well I have just started exhibiting in a Gallery that I have a lot of respect for and am very grateful that they have considered exhibiting my work, the gallery is the Fraser Gallery in St Andrews and I have sold a few of paintings through them in recent weeks so this is very encouraging and hopefully my work will be seen by a bigger audience, they do have a lot of people looking at them for good work and good artists exhibiting in that venue.
... my paintbox of course she laughs !!.. and some canvases of course .... some small canvasses. and maybe a dog and a hen... ? yes but they donâ€™t meet, I donâ€™t know how long the hen would survive on a desert Island with a dog without some chicken wire to divide them... So you need to find a desert island with a chicken run ! Yes, a bit of protection, it would be great to have an egg every day, I do like fresh eggs ...
Tell me more about the training courses in art from your studio here in Blairgowrie...
Thanks Luisa Dave
Yes, I run a small art school and I have a couple of groups that I teach. I put together a project every time we meet and I keep to traditional techniques and give people some tools so they can go away and apply them in their own work.
The featured work :
..And now the most important question, if you had one small bag to take with you to a desert Island what would be in it..
"Currently my inspiration comes from the light and water reflections in Venice and from the landscape around my home in Scotland....I also like to paint portraits and I am hoping to do more of these in the future."
You mean in a case, just a small case..? yes, say a small backpack, what would you put in your backpack ?.
My Highland Winter by Jamie Grant
Winter in Glen Lyon starts as a whisper. Scurries of rain quicken their pace between the bens. The leaves on the big beeches catch the evening sunlight with a last brilliance before passing. I watch the swallows take their last pass under the eves before abandoning the skies to a single, harvest moon. Gradually the warm clothes start emerging out of the bottom cupboard. We buy in our oil and wood, top up the antifreeze and stock up the freezer. If feels like we are battening down the hatches in a ship before a storm. And yet when winter finally arrives it always comes as a surprise. I wake up one morning to find frost in the garden and the mountains crowned with a high dusting of snow. My young son crunches through puddles frozen with jagged lines and trapped bubbles on his way to school. On clear nights the Milky Way snakes across an inky sky.
A thousand year old poem in old Gaelic, attributed to Fionn mac Cumhaill, captures the mood of a coming winter:
I have a tale for you The stag bells Winter pours down Summer has departed A high cold wind The sun low Short its run Swift its path The bracken very red Its shapeliness concealed It has become customary The barnacle gooseâ€™s voice Cold has taken hold of The wings of birds Season of ice That is my tale.
Translation by Sharon MacLeod, copyright 2011 Permission to use and publish given to Jamie Grant
When the winter comes I go on long walks with a camera in Glen Lyon. I never follow a set route and always go alone. Sometimes I return to a favourite ridge, stretch of woodland, or rocky branch in a burn. Other times I strike up a remote corrie with no other purpose than to explore. I spent one winter walking the edges of the shadows cast across the bens by the low sun. Rather than create images on these walks I let the highlandâ€™s fickle weather and light direct me. Chance is an important part of photography and some of my favourite images, such as the reflection of a tree in a puddle or light bursting through a distant cloud, were taken on a whim. Over ten years I have built up a collection of images that reflect a personal as well as a physical journey through Glen Lyonâ€™s wild and solitary places. My highland winter has been much more than a season - it has also been a time of solace and luminous introspection. Jamie Grant March 2012, Glen Lyon www.jamiemurraygrant.co.uk
Jamie develops his large prints by hand on fibre paper and frames them in solid oak. His next exhibition will be at Fortingall Art from Saturday 28th July. www.fortingallart.co.uk
Ben Walker London
Hollows of devotion 61 cm x 61cm
The central themes that inform Ben Walkerâ€™s paintings are historical atrocities, specifically the Holocaust and Nazism. Imagery from the Holocaust and military youth movements are deployed as signifiers of evil, dread, no future, to display the emptiness of the subject. Walker doesnâ€™t make literal, descriptive paintings, but instead uses figurative elements and subdued tonal ranges to depict people who were viewed as anonymous or as objects, and to reflect a sense of vulnerability and create an impression of remoteness. The figures in the compositions are often vague or simplified, reduced to silhouettes, with unnecessary detail eliminated.
The backgrounds of the paintings contain enough information to indicate some kind of space or setting. Too much of heaven's eyes 81 cm x 81 cm
He works on coarse grained linen which is sized rather than primed, and uses a narrow range of colours - mainly browns, greys and greens. There is an emphasis on the actual process and evolution of making the work. Value is placed on the application of paint, the variation of the brush marks, and the surface.
The guilty have no pride 79 cm x 79 cm
Ben Walker graduated in 1997 with a BA (Hons) in Fine Art from Sheffield Hallam University, and went on to complete an MA in Fine Art (Drawing) in 2001 at Wimbledon College of Art. Walker has exhibited in London and New York, including exhibitions curated by Mark Wallinger and Franko B. In 2010 he was shortlisted for the National Art Competition at Saatchi Gallery, and the same year was an exhibiting artist in the 2010 Marmite Prize for Painting. In 2012 he has featured in a four person show at Transition Gallery, London, and won First Prize in the Jack Goldhill Painting Prize. Ben Walker lives and works in London.
Honour in silence 53 cm x 77 cm
Through the lens of...
Emma McGregor Angus
"I like old fashioned things and stories andÂ I'm drawn to the dream-like and the uncanny."
Hello Dave! Right! ... Struggling a little... My PC is very slow today and mail is bouncing back... Please bear with me x Oh my! It is so hard to be objective about my work. I try and publish one image every day online. Things I liked months ago make me cringe now. I have managed to narrow it down a little bit. I'm sending you a selection so you can decide what balances best when you construct your page ...(if I haven't put you off already with my waffling and you chose to use my pictures still...) Condensing my rambling was a little easier... "I like old fashioned things and stories and I'm drawn to the dream-like and the uncanny." .... I could prattle on for hours but that's pretty much the main of it. Strictly speaking that's two sentences but they are very short and I haven't mentioned my pets or which primary school I went to. :-) Thank you so much for getting in touch... It's been a fun exercise for me and I really appreciate the exposure. If I've missed something. drop me a line... I check in often. Emma.
Emma will be sharing her works during the Angus Open Studios event in May 2012 emmamcgregor.weebly.com
June McEwan Perthshire
Artist Mural painter Community artist Environmental artist Face painter. ... all round arty farty!
Artist who believes in the value of community participation â€œTell me, and I will forget. Show me, and I may remember. Involve me, and I will understand.â€? Confucious
June McEwan www.junemcewan.biz
Marie Armi French painter ..taking her inspiration from landscapes, large fields of emotions painted in a lyric abstract way, using oil or acrylic and other materials like sand, mortar, marble powder,Â etc....
Mari on ArtLimited.net La confĂŠrence des oiseaux
When evening appears, Let yourself go to both of your destinies To live INTO the landscape And make a sign to the shooting stars……
(from François CHENG) ""Quand le soir vient Abandonne toi à ta double destinée HABITER le paysage Et faire signe aux étoiles filantes"
Crea2 92 cm x 73 cm
The emotion results from a total fusion with the elements, the Buddhism philosophy has helped me in that way. Working with it appears like a “dialogue”. So I’m used to say, talking about my work :
Free from the imprisonment Like a kite I will let my wings caress The infinite outlines of the empty space
Entre ciel et terre Huile 100 cm x 100 cm
Marie ARMI Un jour ailleurs 2 100 cm x 100cm
Rapsodie en bleu III 110 cm x 110 cm
"LibĂŠrĂŠe de l'emprisonnement Tel un cerf-volant Je laisserai mes ailes caresser Les contours infinis du Vide"
Errance hivernale 40 cm x 40 cm
Bobbi Vetter Clackmannanshire Artist Mural painter Community and environmental project artist I like to use myth and legend as a basis for much of my work. For me a refreshing escape from reality and a portal to the realms of imagination.
The Rowan of Glencoe Ink drawing. In ancient times it was believed that certain trees held magical spirits. The Rowan is very important in Pagan mythology In this ink illustration the Rowan is represented as a young woman set into the backdrop of Glencoe. The tree I have chosen to represent can be found on the road to Fort William, where she grows from a crack in the huge boulder she stands on. This is part of her Tree Spirit collection.
Spirits of the forest Digital Collage
Moongazing Hare Watercolour.
The moon-gazing hare reflects the beliefs of our ancestors. It was believed that seeing a moon hare would bring re-birth,fertility and good fortune in new beginnings. Eostre or Ostara is the Goddess of spring and was said to have been able to shape-shift into a hare. She and her hare companions brought life back to the land ,leaving eggs in fields and hedgerows. This is thought to be the origin of the myth of the Easter Bunny!
Rain Series mixed media This series was created in response to a call for entries for the Helen Keller International award. I decided that to properly create for this event,I must first have some idea of what it was to be a deaf/blind person. I stumbled about in my garden,blindfold and ear-plugged, but not really `getting it` until a sudden shower drenched the dry, dusty earth. Suddenly perception changed and my more neglected senses came to the fore. Raindrops on a summer garden. The heady scent of the drenched flowers and the touch of cool raindrops on warm skin were the inspirations for this mixed media collection. The first panel â€˜Raindrops on a summer gardenâ€™ was short-listed for the Helen Keller International Award but did not win. It later won a first in a national competition sponsored by `The Works`.
Meet Bobbie at venue 70 of the Forth Valley Open Studios in June 2012 forthvalleyopenstudios.com/2012/ artist70.html
Bobbi Vetter alltradeart.co.uk/bobbi-vetter
Bobbi Vetter Art
Helen Craig Clackmannanshire
ÂŠ Helen Craig
ÂŠ Helen Craig
About Helen I'm just me take me as you find me, a bit of a dreamer. I collect faeries and love spending time in the woods (not got my wings yet) LOL!!! Helen Craig Artist
(yes, she is a keen photographer as well !!)
BIPP Fine Art Photography Competition sponsored by
Winner Lone Tree by
Gerry Coe FBIPP
..more of Gerry’s work on pg 53
©Gerry Coe FBIPP
BIPP Fine Art Photography competition
Grown Up Girl 2 by
Dave Hunt ABIPP
Image from a series exploring the passage of time.
Dave Hunt | Photography
BIPP Fine Art Photography competition
Grahame Mellanby ABIPP
Some more of Grahameâ€™s work will be featured in the next edition of iMoshe magazine.
BIPP Fine Art Photography competition
Thirsty Nation by
Neil Warner FBIPP MQEP
The BIPP Professional Photography Awards are a showcase for professional photographers, celebrating the very best work from the UK and internationally, and are some of the most respected within the industry. Over 1000 images were entered to this years competition and the awards were presented at the BIPP Professional Photography Awards at the British Film Institute on the Southbank, London on 16th March 2012. â€œ these awards acknowledge the achievements, sheer skill and dedication of professional photographers, and these photographers have produced some wonderful images â€? ... BIPP President Roy Meiklejon FBIPP All the award winning images can be seen on the Professional Photography Awards website www.professionalphotographyawards.com.
Ellie Gale University of Huddersfield
Gerry Coe Photography
2013 will see Gerry celebrate his 50th year as a professional photographer and he has clearly seen more than a few changes and how the profession has moved through different phases of photography. Working for a photographer after leaving school in Belfast, black and white wedding and portrait work has always been a major influence alongside his large format work in just about every aspect of commercial and social photography. Throughout his career he has always been very active in the Art side of photography and has exhibited his work. He was the first photographer to be accepted into the Royal Ulster Academy of Arts sharing annual exhibitions of all discipline in the arts.
Moving away from traditional darkroom printing into the digital era he found himself exploring more with photoshop and working with images to create new styles of work for people to hang n their homes, but despite producing some good work he was really looking for something else. Like many skeptical photographers he believed that he could not get great pictures out of a phone camera, not at least as good as from a 'real camera', but Inspired by the iPhone imagery work of his friend Dan Burkholder he soon discovered a whole new commercial word of creating and selling iPhone imagery so he started to experiment. Whilst on a trip to Tuscany in Italy he started creating iPhone images alongside those from his trusty traditional camera and was quickly drawn into the creativity that camera phones and apps can offer, so much so that by the fourth day he was using his iPhone exclusively for his image creation. He later produced a book from the trip : â€œTravels in Tuscany with my iPhoneâ€?
Walk in the Park
It was on the Tuscany trip that he took the photograph that has done so well for him - 'Lone Tree' , the image that scooped up the first prize in the BIPP Towergate Fine Art Photographic Competition, a highly respected event in the world of Professional Photography. "The Fine Art competition is something that I always wanted to win but for the last few years I had not been entering as I was not really happy with what I had been doing, I felt that the images were not quite strong enough. And now what has really pleased me is that an image taken on a very simple iPhone4 can beat all the stuff taken on the big super duper expensive camerasâ€Ś." Gerry Coe
Gerry has just recently returned from a trip to Paris and the only camera he had with him was an iPhone, (although he did have a Ricoh as a backup, just in case anything broke) "Now I am in the process of editing all the images I like and maybe I will do another book"
Gerry Coe www.gerrycoe.co
One would be forgiven for thinking that mobile device image creation was the domain of the younger artist, but what I find inspiring is that a photographer with Gerryâ€™s background and pedigree has seen the creative opportunities that new technology can bring, proving that its not all about the toys.
Rihanna Tree ÂŠGerry Coe
Tales From the Nude: On Embarrassment by Roswell Ivory Long ago, in the days of my A-levels when I dressed like Morticia Addams and could buy a Crème Egg for 30p, it was suggested by my art tutor that all her students take an evening life drawing class. Eagerly imagining learning to draw like Da Vinci, I signed up without the faintest idea what life drawing actually was- except that it involved “real live people”. I found myself at the studio on Tuesday night, surrounded by the liberal middle-aged and confronted with a model who suddenly dropped her dressing-gown and waited for my quivering pencil to try and capture her, breasts and all. During my break, I scuttled up to her and asked if it was scary being naked surrounded by all of us. “No, not really” she replied before turning her attention to someone less terrified.* By the time a male model was brought in, I resembled a beetroot hiding behind some black hair and an oversized canvas. When the new course began, I didn’t return. So I packed the mental images away in a secure suitcase and headed off to art school where, as I studied Creative Writing, I didn’t have to get anywhere near a naked person unless I wanted to. The rest, as they say, is history- I was approached by a talent scout, stuck some pictures online and posed to “implied nude” level (no nipples or pubic hair showing). Soon after, I realised that my hands constantly fluttering around to hide myself looked self-conscious, awkward, and frankly a bit “Benny Hill”, so when I graduated, it was with an Upper Second and a lot of fully nude photos. Now, I get asked about posing nude on a fairly regular basis (am I embarrassed, where do I get the confidence, what does my mum think**, etc). I think it is often true for experienced nude models that we get used to our state of undress very quickly.
While holding a pose for an artist gets physically uncomfortable, on a mental level it can be very relaxing as I am allowed to sit still and let my mind drift. In the same way we all get used to our everyday clothes on our body, we models get used to their absence. Having watched photographers use photoshop, it is easy to see how through their eyes, the model becomes little more than light, shadow and tone, no matter whether the screen shows a breast, eye or armpit! It was this that I was forgetting back in life drawing class due to my own embarrassment (and I must now respect the male model, who had self control that I will never have in order not to laugh at the tiny green fig leaf I always painted between his legs...) The modeling industry can often be hilarious- many photographers who predominantly shoot nudes are still not sure how exactly to ask their model to remove her clothing! Another dilemma I hear about is how to refer to the model’s breasts and pubic area. Personally, I say “breasts” and “pubes” but I don’t think there are many models who will take offense at variations thereof! As long as the instruction does not resemble “erm… there’s a motion in the ocean of your ivory-pale scallops and a leaf is adorning the wire of your under belt fleece so could you fix it please?” Thankfully, I have never heard this sentence. When working with photographers who are not used to shooting nudes, I am often asked if I should begin fully-clothed and then move onto lingerie before ending with nudes “when you have relaxed.” (The opposite is best of coursebegin nude and then build up clothing so there are no red marks and lines.) Often, I have found that it is the photographer who would like to relax- or that they are used to working with new models. When photographers are a little self-conscious, it is my job to keep their embarrassment from being contagious- to continue posing as normal and eventually the photographer in question usually realises I’ve been nude the entire time I’ve been changing my make-up. That is my goal anyway!
Embarrassment is a learned thing- most of us ran around naked as children. In societies where breasts are not considered erotic or the temperature makes clothes impractical, people are not embarrassed by their neighbours lack of modesty! In fact, on asking these people how they got the confidence to be nude, it is likely that they would not understand the question- nudity is not something that requires confidence. Artists have taken inspiration from all body types and skin colours over timeI should mention here that the female model I first drew was of average height, with perfect olive skin, and slightly pear shaped. The man was middle-aged, with a belly and copious amounts of grey hair. There is no reason to fear the nude body, unless you’re watching a particular brand of reality TV (and then you need the jaws of life to get those images out of your head…) I now use the communal changing rooms at the swimming pool, I look at nude art in galleries, and I can look fellow models in the eye if we’ve both been posing for art classes. Not only because it is no longer an issue for me if someone sees me nude, but also because I am no longer embarrassed by someone else’s nudity (when appropriate). Why am I not embarrassed? Because there is nothing to be embarrassed about. And that is a very positive thought. ROSWELL x *I am much friendlier to the art students who now ask me the same thing! ** She’s fine with it, and a fan of Pre-Raphaelite art
Hannah - Dancer and life model Photography by Dave Hunt
Roswell Ivory Writer and Model
Roswell Ivory Photographer :
Through the lens of ......
Tim Pile West Midlands Tim is one photographer that has been on something of a mission in recent years ... to build a portfolio of artistic nude images, something that would (unintentionally) be the envy of many a fine art photographer. I had the pleasure of working with Tim a few years back when he came to Scotland to shoot some figures in the landscape, seeing my own portfolio online asked me to suggest a few locations and tips on working north of the border. He suggested that I join him for a session which I did, and then another, and yet another, in fact 8 full consecutive days worth, my poor camera didnâ€™t know what had hit it. We even managed not to fall out as 2 photographers working together is never a good idea, in fact I like to think we became good friends.
The Ballerina Model : Kayleigh Lush
I have watched Tim’s style develop even in the relatively short time that we have been acquainted and this ‘mission’ gave him a well deserved Associate Qualification with the Royal Photographic Society (RPS) in Visual Art .. with a fine panel of art nudes, obviously. Tim’s ARPS Panel
Statement of Intent These images reflect my interpretation of the female nude. I have explored the subject through dynamic and expressive poses using a variety of viewpoints and locations.
Reflection In Red Model :
The Acrobat Model : Raphaella
Blue Dancer Model : Kayleigh
The Ram Model :
Model : Ella Rose
Model : Ella Rose
Alone in the Woods Model : Raphaella
“The Art of Dance” An exhibition exploring all aspects of the dance through photography, painting and printmaking. This special festival exhibition will feature the work of several prominent Scottish contemporary artists including, Muriel Barclay, Peter Nardini, Madeleine Hand, Dave Hunt and Tim Cockburn, all of whom have a particular fascination with dance and dancers. The exhibition opens on Saturday 12th May and runs until Saturday 23rd June.”
Frames Gallery 10 Victoria Street Perth PH2 8LW Tel: 01738 631085 email@example.com www.framesgallery.co.uk
Valerie Shuff www.framesgallery.co.uk
â€˜a photographic study of movement and lightâ€™ by
Image from the original test shoot with Dancer Eenia
Model & Dancer Katie L
Model & dancer Raphaella Dancers Eenia and Matt
Dancers in the Dark started life as one of those ideas that created a test photo session that led to a project that developed into a whole body of work. Being fascinated with dance as an image I wanted to portray the spirit of the dancer, to capture their movement and their energy. Without the distraction of attire we can appreciate the body in motion in its most natural form.
My thanks go out to all the dancers and models that could share my ideas and share their skill and professionalism
Model / Dancer Fredau
The final works are presented as Fine Art limited edition giclee prints at 90cm x 90cm set into 1.1m wide timber frames. Some works presented as open edition prints at 60cm x 60 cm Also available as wee 20cm x 20cm Black Boxes, or the full sized
roamin in your gloamin 2nd June â€“ 30th June 2012 An exhibition showcasing the work of Scottish artist Craig McKechnie. The exhibition will be the first solo show to be held in Delta Studios which coincides with the 10 year anniversary of the opening of Delta Studios, The Creative Centre. There will be a series of opening events taking place in May, for further information please visit: www.craig-mckechnie.co.uk The exhibition will be open to the general public from: 2nd - 30th June 2012 Mon-Sat 10am - 5pm - Admission Free
The wind in my faces A conversation with Craig McKechnie Friday 29th June 2012 at 7.00pm - Tickets ÂŁ10 Refreshments provided
Delta Studios Lochlands business park, Larbert, Falkirk FK5 3NS [map] t: 01324 555500 email: firstname.lastname@example.org
Art Pistol is home to some superb original art and prints. We bring together a specially selected collection of undiscovered, emerging and established artists from all disciplines across the UK. We want to spoil you for choice and value, from excitingly affordable art andÂ gift ideasÂ to more exclusive and bespoke services.
Open Studios in Scotland Spring 2012 For anyone who has an interest in the arts and crafts that has not discovered the open studio scene has really missed something quite unique. A rare chance to experience a real diversity of creations in a short space of time from paintings and photography, sculpture and pottery, felt makers, glassworks and jewelry, and a lot more including some rather yummy edibles. But what often makes folk take the time to visit the artists venues is to meet the creators and see how they work in their creative spaces from tidy studios (and some less so !!) to garden sheds and spare rooms. Some artists offer demonstrations or mini workshops during the event, and being offered a cuppa and some tasty home baking is not uncommon. The spring season starts over in Fife who are in their 7th year and following the newest event which is in Angus we have Spring Fling in Dumfries and Galloway who will be celebrating their 10th year. Our Scottish spring seasons ends in the Forth Valley offering a real mix of rural and urban venues.
www.openstudiosfife.co.uk North Fife hosts one of Scotlandâ€™s longest established, largest and most geographically compact open studios events. Open Studios North Fife is in its 7th year! This is your chance to visit over 80 professional artists, makers and designers in their own work spaces and speak to them about their methods and sources of inspiration. On show this year will be an amazing variety of styles of painting and prints, jewelry, ceramics, textiles and work in wood, metal, glass, stone and mixed media â€Ś everything from beautifully small affordable gifts to large statement pieces.
Angus Open Studios is now up and running with 60 members and 9 exhibiting “non-members” we are approaching or second open studio event with interest and excitement. This year over a third of the members are joining for the first time and the standard of work looks very high. One of the smallest and one of the newest open studios to get going following the lead set by their from their neighbors success – NEOS, POS & Fife. Last year 2011 when they began they had a couple of events which included about 20 selected artists from the AOS membership – one Art & Craft Fair at the Dibble Tree Theatre in Carnoustie and one at Christmas at Hospitalfield in Arbroath. This coming year they have the Hospitalfield venue for a pre-Christmas event again as well as upstairs in the Meffan Gallery in Forfar in October.
J B Anderson
We can look forward to another creative year with an increasing number of visitors coming to our open studios in the lovely glens and coastline of Angus to explore the hidden treasure trove of talent here between the 24th and 28th May. Fran Marquis www.angusopenstudios.com Doris Gilmour Norma MacLean
Spring Fling is a vibrant annual arts and crafts open studios event which takes place across Dumfries and Galloway. The main event takes place over four days from 2nd to the 5th June across the region from Sanquhar in the north to Dundrennan in the south, and Port William in the west to Langholm in the east. There are large concentrations in the area from around Thornhill, down through Dumfries and on to Kirkcudbright. Before the main event there is a Taster exhibition from 3 March to 12 April at Gracefield Arts Centre, Dumfries which transfers to Stranraer Museum from 21 April to 19 May. This year is a special one â€“ Spring Flingâ€™s 10th birthday. The taster exhibition will include some special elements to celebrate the anniversary. There will be a retrospective slide show with images from past events and a short film by Wigtown-based Picto Productions. There will also be a selection of small artworks specially commissioned from some of those who were part of earlier Spring Flings, plus a wall installation made by visitors. For full details see the website at www.spring-fling.co.uk or order a brochure, which comes complete with map.
Forth Valley Open Studios runs from 9-17 June and stretches from the Trossachs and Campsies to the Ochils and Falkirk. Connecting communities through art is the theme for the third annual Forth Valley Open Studios. Showcase exhibitions complimenting the Open Studios will be held at the Smith Art Gallery and Museum and in the Changing Room Gallery, Stirling. This wide mixture showcasing the work of over 100 artists is a reflection of the vibrant urban and rural art scene developing in Central Scotland ranging from painting and pottery to textiles, jewelry, printmaking and photography. Forth Valley Open Studios is now a registered C.I.C. a Community Interest Company, (not for profit arts organization) (SC:410605) Copies of this yearâ€™s brochure can be downloaded at: www.forthvalleyopenstudios.com
Dancers in the Wind
Viki Bolton Artist
Lorna Dairon Artist
In the studio with ... Lys Hansen
Chrissie Red Model / Photographer (made in Scotland)
Close Putting together the first edition of imoshe has been a mix of fun and frustration, the growing of a few more grey hairs, but above all a real learning experience, not only by discovering some new artists but in the whole process of creating an electronic mag. I must thank all that have helped me get this together in what has been a rather short timescale, there really is nothing like giving yourself a tight challenge to spur you into producing something different and everyone featured has helped shape the publication into what you have read (... or just looked at the pics ) Where this venture will lead is still to be seen, I am hoping that the style and content will find its own direction but ultimately its biggest influence in the magazines life will be those that contribute by sharing their work and themselves. And of course lets not forget you the reader who I will appeal for feedback ... constructive of course. There will always be ways to improve the publication and without an appreciative reader then this will be rather a waste of time so please drop me an email or message. But hey, if you are traveling through sunny Perthshire just call in for a natter, the kettle is always on standby.
If you wish to contribute in any way please get in touch. To offer a submission we will require finished ready text and as many images as you are able to offer (hi res only please). We are looking for articles from a few images and artists details to full articles with a range of images and up to 500 words
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Dave Hunt email@example.com
Advertising in imoshe. At this time we will simply be placing ads for exhibitions, galleries, and other organizations or businesses that have a direct benefit to individuals as featured in the magazine. We may in the future take in paid ads for products or services that are related to image creation or supporting the artists.
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Showcasing creative images and their creators