The Scottish Gallery - April 2021 exhibitions

April 2021 Matthew Draper I Light & Air WOOD I In the Grain Christine McArthur I Notes to Self Jacqueline Mina I The Golden Touch

Contents

1 – 24 April 2021

Matthew Draper The Morning Sky is Full of Light Part II pastel on paper, 35 x 50 cm £2,250 Front cover Matthew Draper Light and Air pastel on paper, 94 x 125 cm £7,750

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Welcome to Spring

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Matthew Draper I Light & Air

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Wood I In the Grain

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Christine McArthur I Notes to Self

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Jacqueline Mina I The Golden Touch

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April Online Events Programme

16 Dundas Street Edinburgh EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk scottish-gallery.co.uk

Christine McArthur A P R I L 2 0 21

Welcome to Spring

Matthew Draper, photo: Graham Clark

Welcome to our Spring publication. As we go to print, The Gallery is still in lockdown, but we can now look forward to welcoming visitors back to The Gallery this April – please keep an eye on our website and newsletter for further details. In the meantime, we bring our April programme to you. Discover Matthew Draper’s expansive landscapes of the Highlands which are a reminder of Scotland’s extraordinary scenery and dramatic weather. The exhibition also includes intimate Edinburgh scenes where he explores the mood of this beautiful city seen from his kitchen window. In the Grain is a celebration of the beauty and joy of wood through the work of several exceptional artists. We present a diverse range of handcrafted furniture and sculptural objects which are exhibited throughout The Gallery. Christine McArthur’s Notes to Self delivers a colourful, playful and sensitive collection of still life works: her practice encapsulates collage, watercolour, gouache and embroidery. To add to our sense of warmth this April, we also celebrate the work of eminent jeweller, goldsmith and art educator Jacqueline Mina. Wherever you are, our programme can be enjoyed courtesy of our Viewing Rooms – this is an area we are seeking to enhance month on month with increased viewing options including audio and film. Or enjoy the human touch with our programme of online events (page 111), where we invite you to meet the artists, listen to guest speakers and hear from The Gallery team. Bring on the Spring!

—Christina Jansen

Angus Ross, photo: Omar Shamma

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Jacqueline Mina

Matthew Draper in his studio, January 2021

M AT T H E W D R A P ER | L I G H T & A I R

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Matthew Draper Light & Air Matthew Draper is a master of capturing light. Or the lack of it. For it is transient moments between day and night, between squalls and sunshine, that he has portrayed so eloquently in his latest exhibition with The Scottish Gallery, Light & Air. Within the confines of various COVID-19 restrictions, Draper managed two research trips to the north of Scotland in 2020. Driving from his home in Edinburgh he visited the Ardnamurchan Peninsula in the north west Highlands, and later in the year managed a second journey, this time in a campervan, exploring the Isle of Skye before gravitating towards Ardnamurchan once more. The wild and remote headland at Ardnamurchan became an important location for Draper. His ability to set up camp at the headland meant he could study the same view over the course of several days, as the light and weather moved across the land and sea. This immersion in the landscape enabled Draper to develop both his subject and technique over time, as he strived to capture not only the representational qualities of the landscape, but also the momentary changes in weather and light.

The resulting artwork from these trips form the impressive body of work in this exhibition, with pieces such as llume, A View of Loch Sunart and Floodlit, Oronsay and Carna that convey a grand sense of scale with a poetic interpretation of mood and atmosphere. Draper explores the opaque qualities of light in the landscape, and has depicted sweeping crepuscular rays as solid entities and as luminous mist, shielding the solid mass of mountain beyond.

He also continues to push the boundaries of his chosen medium of chalk pastel, honing a technique which involves crushing, mixing and sanding back layers of pure colour on the paper in a process which is both delicate and gestural. Draper has applied these new techniques to a dramatic series of Edinburgh cityscapes, recorded from his kitchen window during a winter in lockdown. This body of work clearly demonstrates an artist working at the height of his powers, and we are delighted to welcome back Matthew Draper for his third major solo exhibition at The Scottish Gallery. —Tommy Zyw 4

scottish-gallery.co.uk/matthewdraper

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Fleeting Moments

Matthew Draper in his studio, 2018, photo: Graham Clark

The work in the exhibition Light & Air brings together images made as a result of my

Salisbury Crags, from the vantage point of my

continuing observations of the varying, rugged wilderness of the west of Scotland and

kitchen window during lockdown.

imagery taken from my adopted home city of Edinburgh, which has been a constant subject

Although restricted by lockdown in the

in my work for the past twenty five years. The starting point for this body of work was the

build up to this exhibition, I was lucky to be

development of ideas formed when working on my previous exhibition Sound of Raasay

able to undertake two research trips away from

held at The Scottish Gallery in April 2019. On one of my research trips I spent time on the

Edinburgh, in mid-February and September

Island of Raasay. Not only did I witness the tail end of a storm as it passed over both Raasay

2020. On both occasions I spent most of

and Skye, which inspired a series of works, but I also started to make work reacting to a

my time on the beautiful Ardnamurchan

particular light phenomena: Crepuscular Rays.

peninsula, which is the most Westerly point

I feel that Sound of Raasay presented a turning point in my work. In order to meet the

of mainland Scotland. Indeed, most of the

challenge of making works that are evocative of these specific light conditions I had to

works made for this exhibition are reactions to

use my medium in a very different way. I started to apply my pastels differently and was

witnessed events whilst in Aardnamurchan.

consciously making different marks with my forearms and parts of my hands to allow

The potential for making images seemed

particular layering of pigment. I also continued to use other intermediary tools like

limitless: whether it be the vistas above Loch Sunart or from the most westerly points

sandpaper and sponges to remove pigment and make richer and more descriptive marks,

looking across Kilchoan Bay towards Morven, the Isle of Mull and The Sound of Mull.

often disturbing the surface of the paper. The result of this different approach was a group

The second trip involved my partner and me hiring a camper van for two weeks. Chasing

of works that contained within them the feeling of opacity, an ability to see through layer

the light and weather we traversed the West coast from the mainland to Skye and the Isle of

upon layer of cascading light to the mountains and landscape beyond. For this exhibition

Mull and back across to the mainland, however we found ourselves unable to resist again

I developed these techniques further. Whether it be the shapes of mountains or headlands

returning to Ardnamurchan. I am convinced that using a vehicle as accommodation,

or the beams of light themselves, I have found myself willing to deal with edges in different

which provides the ability to find a vantage point and study it over a lengthy period of time,

ways to provide more contrast within the images. All of these new works deal with the

further enriches my artistic practice. Indeed, doing so has enabled me to study the same

different types of softness and hardness that are found within landscape.

places in the evening, as day turns to night, and again first thing in the morning. I witness

I have also become interested in how this evolving technique can effect and enrich new

different atmospheric conditions and fleeting moments that I may otherwise miss. The same

works of places I have reacted to previously, that I am perhaps best known for. The result is

landscape can appear very differently, at points flatter or obscured as it is veiled in light and

the Morning Sky is full of Light Series looking over Edinburgh with Arthur’s Seat and The

rain, or much more expansive as the weather clears. —Matthew Draper

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Illume, A View of Loch Sunart pastel on paper, 108 x 162 cm £11,750

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‘The principal subject of my work is light in the landscape: the way that light effects the landscape and objects within it.

As a contemporary artist choosing to adopt this approach, my interest is not in making straight forward topographical images that serve as illustrations of place. Instead, I am attempting to make imagery that is descriptive of the circumstances under which the subject is viewed; images which convey a sense of the place. The drawings are emotional reactions to events and experiences evolving in front of me; events happening or about to happen.’

—Matthew Draper

Bathed in Light, Oronsay and Carna pastel on paper, 93 x 154.5 cm £9,500

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Rays and Rain, A View From Ardnamurchan Part IV pastel on paper, 22 x 50 cm £1,850

Floodlit, Oronsay and Carna pastel on paper, 79 x 107.5 cm £5,850

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The Inner Sound with Rona and the Cliffs of Staffin pastel on paper, 25 x 35 cm £1,500

Sun Beams, From Raasay to the Cuillin Hills pastel on paper, 79 x 107.5 cm £5,850

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Evening Showers Over Scalpay and The Inner Sound pastel on paper, 30 x 42 cm £1,950

Morning Light, Kilchoan Bay pastel on paper, 76 x 106 cm £5,850

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‘Some twenty or so works in this exhibition were made as a result of witnessing one particular landscape over three days, staying in the same spot. Yet, at first glance, because of vast atmospheric changes it may not be obvious that these works are all reactions to the same place. The series I refer to is Light & Air, the images of squally rain showers From Kilchoan to Tobermory (overleaf) and the works of Morven and Kilchoan Bay with passing rays and rain moving across the landscape. These works are all the result of finding a spot to camp at the far tip of Ardnamurchan and the opportunity to simply watch, wait and record.’

—Matthew Draper

Illuminated, A View of Loch Sunart pastel on paper, 108 x 162 cm £11,750

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Downpour, from Kilchoan to Tobermory pastel on paper, 30 x 42 cm £1,950

Torrential Rain, A view of Mull from Ardnamurchan pastel on paper, 24.5 x 53.5 cm £1,850

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Driving Rain, The View From Ardnamurchan pastel on paper, 22.5 x 30 cm £950

Across Kilchoan Bay With The Headlands of Morven pastel on paper, 79 x 107.5 cm £5,850

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Sunrise with Rona and The Torridon Mountains pastel on paper, 80.5 x 139.5 cm £7,500

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And The Deluge Begins pastel on paper, 24 x 31.5 cm £1,500

Morning Sun, Sound of Raasay pastel on paper, 30 x 42 cm £1,950

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Rays and Rain, The Sound of Mull Part I pastel on paper, 25 x 35 cm £1,500

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Rays and Rain, The Sound of Mull Part II pastel on paper 25 x 35 cm £1,500

Ardnamurchan pastel on paper, 30 x 42 cm £1,950

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From Oban to Mull pastel on paper, 25 x 35 cm £1,500

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Rays and Rain, A View from Ardnamurchan Part II pastel on paper, 30 x 42 cm £1,950

Rays of Light, From Raasay to the Cuillin Hills pastel on paper, 79 x 107.5 cm £5,850

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‘Not only did I witness the tail end of a storm as it passed over both Raasay and Skye, which inspired a series of works, but I also started to make work reacting to a particular light phenomena: crepuscular rays.’

—Matthew Draper

Emerge, From Raasay to the Cuillin Hills pastel on paper, 91 x 156 cm £9,250

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Just a Glimpse, From Raasay to the Cuillin Hills pastel on paper, 88 x 153 cm £9,750

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Rays and Rain, A View From Ardnamurchan Part III pastel on paper, 22 x 50 cm £1,650

Light and Air pastel on paper, 94 x 125 cm £7,750

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A Study of Rona and The Inner Sound charcoal on paper, 15 x 21 cm £450

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Luminous, The View from Kilchoan charcoal on paper, 15 x 21 cm £450

Cascade, Crepuscular Rays Study charcoal on paper, 15 x 21cm £450

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Cascading, Crepuscular Rays Study charcoal on paper, 15 x 21 cm £450

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A Study for Illuminated The Bass Rock from Yellowcraigs charcoal on paper, 21 x 15 cm £450

A Study for The Morning Sky is Full of Light charcoal on paper, 15 x 21 cm £450

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The Morning Sky is Full of Light Part I pastel on paper, 35 x 50 cm £2,250

The Morning Sky is Full of Light Part IV pastel on paper, 35 x 50 cm £2,250

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The Morning Sky is Full of Light Part III pastel on paper, 35 x 50 cm £2,250

Aglow, Kitchen Window Series No. 68 pastel on paper, 25 x 50 cm £1,750

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The Morning Sky is Full of Light Part V pastel on paper, 31 x 65.5 cm £2,500

The Morning Sky is Full of Light Part II pastel on paper, 35 x 50 cm £2,250

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M AT T H E W D R A P ER | L I G H T & A I R

MATTHEW DRAPER

SELECTED COLLECTIONS

1973 Born Stone, Staffordshire 1991–92 Walsall College of Art 1992–95 Falmouth College of Arts BA(hons) Fine Art

The Edinburgh Academy Art in Healthcare Baillie Gifford, Edinburgh Bank of Scotland, Edinburgh Caledonian Hotel, Edinburgh Canford School, Wimborne City Art Centre, Edinburgh Dundas Global Investors, Edinburgh Falmouth Art Gallery Huawei Corporation, Hong Kong Kelvingrove Art Gallery and Museum, Glasgow Premier Property Group, Edinburgh Morton Fraser, Edinburgh Turcan Connell, Edinburgh and London Walter Scott & Partners Limited, Edinburgh Various private collections worldwide

SOLO EXHIBITIONS 2021 Light and Air, The Scottish Gallery, Edinburgh 2019 Sound of Raasay, The Scottish Gallery, Edinburgh 2019 Firth Forth, Fidra Fine Art, Gullane 2018 Sublime Adventures, Brown’s Gallery, Tain 2017 Small Works, Fidra Fine Art, North Berwick 2016 Amongst The Clouds, The Scottish Gallery, Edinburgh 2015 From Metropolis to Wilderness, Lemon Street Gallery, Truro 2014 Eilean a Cheo, Open Eye Gallery, Edinburgh 2013 Northern Light, Lemon Street Gallery, Truro 2012 Time Lapse, Open Eye Gallery, Edinburgh 2011 New Pastels, Beaux Arts, Bath 2010 Festival Exhibition, Open Eye Gallery, Edinburgh 2009 Nocturnes, Beaux Arts, Bath 2009 In Series, Lemon Street Gallery, Truro 2008 Luminism, Open Eye Gallery, Edinburgh 2007 January Light, Lemon Street Gallery, Truro 2006 Time and Place, Beaux Arts, Bath 2006 Seven Hills, Open Eye Gallery, Edinburgh 2005 Nostalgia, Lemon Street Gallery, Truro 2004 Panorama, Beaux Arts, Bath 2004 Old Town, Open Eye Gallery, Edinburgh 2002 Atmosphere and Twilight, Open Eye Gallery, Edinburgh 2000 Night Life, Open Eye Gallery, Edinburgh 1999 The Reynolds Gallery, Edinburgh

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Matthew Draper in his studio, 2018, photo: Graham Clark

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scottish-gallery.co.uk/matthewdraper

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IN THE GR AIN

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In the Grain

Anthony Bryant Ash & Plumb Lizzie Farey Adrian McCurdy Jim Partridge & Liz Walmsley Angus Ross Edward Teasdale The Tim Stead Trust Tim Willey

This April, The Gallery brings together several artists whose practice is immersed in making furniture, sculpture and objects from wood. In the Grain will help us welcome Spring to The Gallery as we recognise the richness and diversity of artworks made in wood.

Craftsmanship is key; each artists’ technical genius and understanding of the medium comes from deep, personal engagement with sustainability and the environment. The Gallery will be filled with examples from familiar and current artists alongside emerging talent. From Scotland, we are delighted to showcase the furniture of Angus Ross, who has a studio and workshop in Perthshire, and Adrian McCurdy, who is based in the Scottish Borders. We have an enigmatic hazel sculpture by Lizzie Farey who lives and works in Dumfries and Galloway. In the Grain also pays tribute to the late Tim Stead (1952-2000).

We will bring you up to date with The Tim Stead Trust and what the future holds for the artist’s former home in the Scottish Borders, The Steading. We are delighted to be showing the magnificent King Chair, 1985, in The Gallery. From the rest of the UK, we have examples by artists The Gallery has represented over several decades, including the eminent furniture makers and sculptors Jim Partridge and Liz Walmsley, alongside Edward Teasdale’s chests, made from reclaimed wood. We are delighted to be able to include an example of Anthony Bryant’s outstanding woodturning. New to The Gallery are Barnaby Ash and Dru Plumb, who together are known as Ash & Plumb. Based in Brighton, they have given us a beautiful series of hand turned vases. We are also taking this opportunity to present Tim Willey’s sustainable carved wooden vessels. Tim is based in Norfolk and alongside his own practice, he has, for many years, been involved with the teaching of crafts, sculpture and construction-systems both at University and workshops in the UK and abroad. Welcome to the warmth and humanity of In The Grain. Please see our full schedule of events to meet the artists and The Tim Stead Trust. — Christina Jansen

Jim Partridge, Oak Bench, c.1989 (detail) scottish-gallery.co.uk/inthegrain

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IN THE GR AIN

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Anthony Bryant

Anthony Bryant is internationally recognised for his unsurpassed work in 'green' woodturning. He creates work which stretches the potential of the material to its furthest limits – both in scale and in his unrivalled ability to turn to an absolutely breath-taking thinness. Anthony turns over the space of a few days using hand-made tools, before

Right Anthony Bryant Large Ash Vessel I ash, H40 x D60 cm photo: Steve Tanner £800 Above Anthony Bryant in his studio, 2019

'I am not concerned with function in my work. Instead, I prefer to explore the sculptural potential of the vessel at the physical limits of woodturning. My driving aim is to create powerful forms with poise and presence' —Anthony Bryant

Selected public collections: The Sainsbury Centre, University of East Anglia; The Arts Council of Wales; Liverpool Museum and Art Gallery; The Ulster Museum; The Fitzwilliam Museum, Cambridge; The Crafts Council; The Contemporary Art Museum, Honolulu

leaving it to dry as it warps into its eventual shape. Anthony only uses English wood, such as oak or ash, for their unique aesthetic and materiality.

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Ash & Plumb

Ash & Plumb was created by design duo Barnaby Ash and Dru Plumb, born of a desire to honour naturally sustainable materials; crafting unique and functional works that breathe life into the living spaces they inhabit.

‘In an increasingly mass-produced culture, we have decided to walk a different path; paying tribute to traditional craft

Right Ash & Plumb Ode to Community, 2021 spalted elm burr, elm burr, oak burr, chestnut, ash, oak H6-34 x D4-7 cm £45 - £95 each Below Barnaby Ash & Dru Plumb of Ash & Plumb, 2021

in a modern context we realise classically formed pieces that allow the natural beauty of the material to shine. We consider ourselves editors not creators of nature's finest work.’ —Ash & Plumb

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Lizzie Farey

Lizzie trained in fine art and stained glass before turning to basketry in 1991, learning the first steps from her sister-inlaw in North Wales. She planted a field of willow cuttings and her passion for working with natural materials began.

Always keen to try new approaches to this traditional craft, Lizzie gradually gained a strong reputation for her simple innovative forms, especially the spheres often decorated

Right Lizzie Farey Windblown Bowl, 2020 heather, contorted hazel H26 x D36 cm £1,040 Above Lizzie Farey in her studio, 2020, photo: David Moses

'I take my influences from the Galloway countryside where I live and work. I am surrounded by hills, lochs, larch and heather, the essence of which I try to recapture in my work.

I grow my willow in nearby farmer’s fields and collect ash

Public collections include: National Museums Scotland, Edinburgh; The City Art Centre, Edinburgh; Shipley Art Gallery, Gateshead

and other materials from the hedgerows. My working life is governed by the cycle of nature. The pieces that I forge create a sense of spaciousness and take on a life of their own.'

with catkins or pussy willow.

—Lizzie Farey

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Adrian McCurdy

Adrian McCurdy has worked with wood since an early age. With a background in Fine Art, Adrian’s career moved first from painting to a development of unique woodskills in furniture and more recently carved panels. From his workshop in the Scottish Borders, Adrian produces furniture using quality local timber and craft techniques both long established and contemporary, often working with storm damaged wood felled by local saw-mills.

‘I like to treat each piece as a sculptural exercise with the permutations seemingly endless as to what to use and how it might best combine with other components. Leg shapes combined with top or seat is an obvious case. The shapes collected (over many years) set the boundary of possibilities.’

—Adrian McCurdy

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Right Adrian McCurdy Two-Seater Bench, 1999 cleft oak with adzed and wax finish H48 x W120 x D37 cm £2,650 Above Adrian McCurdy in his studio, 2019

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Adrian McCurdy

Left Adrian McCurdy Cleft Bench, 2015 cleft oak with spoke-shaved and wax finish, H50 x W127 x D34 cm £1,750 Above Adrian McCurdy Low Table Stool I, 2020 cleft oak, gall ink, hard wax-oil H41 x W53 x D35 cm £540 Right Adrian McCurdy Low Table Stool II, 2020 cleft oak, rosewood, gall ink, hard wax-oil, H41 x W53 x D32 cm £640

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Jim Partridge & Liz Walmsley

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Left Jim Partridge & Liz Walmsley Small Bowl Table, 2020 scorched oak, H35 x W56 x D44 cm £3,800 Below left Jim Partridge Scorched Sculptural Vessel with Gold Leaf, c.2018 scorched oak, gold leaf H20 x W27 x D19 cm £1,450 Below Jim Partridge Scorched Square Dish with Bleached Circle, c.2017 scorched oak, H19 x W31 x D25 cm £1,350 Left Jim Partridge & Liz Walmsley’s workshop, Oswestry, 2015

Jim Partridge studied at John Makepeace’s Parnham House School for Craftsmen in Wood in the 1970s, whilst Liz Walmsley’s first professional life in the crafts was in the world of ceramics. Since 1986 the couple have worked together designing and making furniture, with the exception of the vessels which remain solely Jim's domain.

They both live and work together in Oswestry in Shropshire,

Public Collections include: The Crafts Council, London; Contemporary Arts Society, London; The Victoria & Albert Museum, London; Manchester Art Gallery; The Fitzwilliam Museum, Cambridge; The British Council; Kyoto Museum of Modern Art, Japan; Boston Museum of Fine Art, USA

‘work with a strong but quiet presence in the landscape’ —Jim Partridge and Liz Walmsley

near the Welsh border.

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Jim Partridge & Liz Walmsley

Jim Partridge & Liz Walmsley Oak Bench, c.1989 oak, H41 x W229 x D33 cm £1,500 64

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Angus Ross

‘Angus Ross creates ‘sketches in wood’ from his Aberfeldy workshop in Highland Perthshire. He sources timber primarily from his own woodland, just five miles away.’

—The Story of Scottish Design, V&A

Angus Ross transforms trees into elegant furniture. He is best known as a designer and maker of exquisite, sculptural

Right Angus Ross Spey Bench, 2019 Scottish ash, H88 x W160 x D90 cm photo: Susie Lowe £9,950 Above Angus Ross at work in his Perthshire studio, 2020, photo: Omar Shamma

innovating with wood for almost thirty years and remains curious about the possibilities of our local timber.

As a maker Angus draws on wood-work traditions from across the globe and combines ancient steam-bending of green wood with traditional cabinet-making and contemporary digital cutting to develop the craft of woodwork.

furniture with a sense of movement and flow. He has been 66

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Angus Ross

Above Angus Ross Sutherland Chair, 2020 Scottish oak H82 x W112 x D70 cm £14,000 68

Right Angus Ross Frame Rocker, 2020 British Elm, H93 x W56 x D50 cm photo: Susie Lowe £2,800 scottish-gallery.co.uk/inthegrain

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Edward Teasdale

Edward Teasdale appeared on the UK craft scene in the 1980’s at a time when 'creative salvage', 'recycling', and wider environmental issues were having a strong influence on design theory and practice. His forms and construction make common reference to a rationale of both formality and utility while the individuality of each piece comes from interplay of scale, proportion and sculptural detail. In contrast to his pared down and refined approach to design, the wood selected, processes used, and the finishes created, do not aim for the perfectly controlled appearance of machine production but accentuate much of the rawness and weathering of the reclaimed natural material used.

‘I’m happiest outdoors among nature or in my workshop making useful things out of the elemental materials I stumble across.’

—Edward Teasdale

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Above Edward Teasdale sitting in one of his handcrafted Orkney Chairs, 2019 Right Edward Teasdale Chest-Seat Table (3 Lids), 2019 found wood, lime wood, lime-wash, wax, H54 x W127 x D46 cm photo: Julian Smart £3,950

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The Tim Stead Trust

If you follow our newsletter, you might have read about the amazing fundraising efforts of The Tim Stead Trust, which has sought to save the home, ‘The Steading’ in The Scottish Borders, of the eminent sculptor and artist Tim Stead (1952– 2000). The Tim Stead Trust was established in 2015 to raise enough funding to purchase The Steading, and the Tim Stead Archive, and then to safeguard its future for the nation as an influential and internationally significant example of Scottish craftsmanship and environmental philosophy, all for the benefit of local, national and international communities.

Tim Stead, MBE, was a sculptor, wood artist, furniture designer and maker, photographer, poet, environmentalist, and out-of-the-box thinker. Tragically, he died in 2000 aged only 48. In his all-too-short life, he made furniture for galleries, castles, cathedrals and even for Pope John Paul II for his visit to the UK, yet it was the intuitive, untutored response of ordinary people that most excited Tim. People delighted in his work’s warm honesty and they wanted to live with it. Amongst his most well-loved public works are the interior of Café Gandolfi in Glasgow, the Millennium Clock in Edinburgh and the Oil Industry Memorial Chapel in Aberdeen.

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Above Tim Stead at work in his studio photo © M Stead Right The Steading Fireplace photo: Sean Bagley © M Stead

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The Tim Stead Trust

Born in Helsby, Cheshire, the youngest of four brothers,

of a complex of buildings that comprise his workshop

Stead was a natural anarchist and a sociable loner. Though

and some substantial outbuildings, all of which

rebellious at boarding school, The Leys in Cambridge, he

Tim adapted to some extent and stamped with his

achieved first-class honours in fine art at Trent Polytechnic

inimitable style.

through a clarity of vision and a passionate dedication to unfashionably palpable, narrative work. There Stead

Bringing The Steading forward to a vibrant future

discovered wood with the unstinting support

The Trust wants to use the unique asset of The Steading

of technician Frank Lindlay. In 1975, Stead did

and its collections as the hub for a Centre for Wood

postgraduate work at the School of Art in Glasgow,

Culture that will build on Tim’s vision and offer the

where he met his life partner, Maggy Lenert, a

real potential for a sustainable future to support the

student from Luxembourg, the day before she was

buildings, the collection, and community-facing activities

about to leave Scotland.

in the longer-term.

The aims of the Tim Stead Trust are to make The Steading

Tim Stead’s Extraordinary Home

and its contents, including the archive works of Tim

The Steading, which is located in Blainslie near

Stead, accessible to the public and researchers. To provide

Lauder in the Scottish Borders, is a truly remarkable

educational activities that will interpret Tim Stead’s

house, considered Tim's masterpiece. Not because

furniture, sculpture, philosophy and poetry. To provide an

of its exterior architecture, but because of its

environment that will encourage wood working skills and

amazing interior which was transformed into

enable other artists to flourish. And, to organize workshops

Tim's ultimate artwork; an incredible tour de

that encourage environmental awareness and the artistic

force. The interior is completely clad in sculpted

use of wood in all its guises.

wood: floors, walls, ceilings, stairs, cupboards,

Above Tim Stead King Chair, 1985 sycamore, H172 x W70 x D80 cm Photo: Tim Stead © M Stead Left Tim Stead at his workshop door, 1997.

Photo: Robert Walker © M Stead

The Trust has generously lent us the King Chair to exhibit

towering four-poster beds, a massive grandfather clock,

as part of our In the Grain exhibition. To find out more

sink, conservatory, hanging sculptures, desks which were

about The Tim Stead Trust please join our online events

all designed and made by Stead. The main house is part

programme this April.

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Tim Willey

Tim Willey is a sculptor, craftsman and applied ecologist.

He established his own practice in the North Norfolk countryside, where he manages 12 acres of mixed woodland.

This provides him with a continuous supply of sustainable

Left Tim Willey at work in his studio, 2020 Below Tim Willey, work in progress, 2021

materials and a perfect working environment, which he happily shares with numerous species of birds, mammals and insects. Tim is an active researcher in adaptive construction, open-fired ceramics and experimental archaeology and runs regular practical workshops, often in collaboration with the Norfolk Wildlife Trust, where he can share his knowledge and enthusiasm with others.

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Tim Willey Selection of vessels, 2021 scorched oak and ash H2.5-15 x W6-17 cm £60 - £80 each

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Christine McArthur Notes to Self In titling her next exhibition Notes to Self, Christine McArthur plays with the idea of self-improvement and self-expression. For a working artist (and if an artist doesn’t work they quickly lose the right to call themselves an artist) the good habit, as William McTaggart called it, is at once carried on for him or herself, a kind of intense personal therapy, and also for the world. For art needs an audience and a dialogue to fulfil its destiny: otherwise it remains a secret with nothing more than potential. This translation from the intensely personal to the universal is a kind of letting-go that all artists must reconcile. It is a gift, an expression of ego made with humility. For McArthur her domestic life, her childhood memories, her deep admiration for the pure form of Lucie Rie, her need to pare down to essentials but embrace chance and whimsy are all expressed in her daily practice. She must make to be better, and let go to live.

Above Christine McArthur in her Glasgow Studio

—Guy Peploe

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Right January Snowdrops, gouache on board, 14 x 12 cm February Truffles, gouache on board, 12 x 14 cm March Anemones, gouache on board, 14 x 12 cm April Quails' Eggs, gouache on board, 12 x 14 cm £895 each scottish-gallery.co.uk/christinemcarthur

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May Asparagus, gouache on board, 12 x 14cm June poppy, gouache on board, 14 x 12 cm July Tomatoes, gouache on board, 12 x 14 cm August Cherries, gouache on board, 12 x 14 cm £895 each

September Berries, gouache on board, 12 x 14 cm October Mushrooms, gouache on board, 12 x 14 cm November Radicchio, gouache on board, 12 x 14 cm December Hellebores, gouache on board, 14 x 12 cm £895 each

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Flower Alphabet embroidery on linen 58 x 64 cm £5,850

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Suttons Seeds Embroideries: Artichoke Beetroot Broad Bean Carrot Cauliflower Marrow embroidery on linen 15.4 x 10 cm each £850 each 88

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Cornflowers gouache on board, 18.5 x 17.5 cm Hellebores gouache on board, 18.5 x 17.5 cm Poppies gouache on board, 17.5 x 18.5 cm Wildflowers I gouache on board, 18.5 x 17.5 cm £1,650 each

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Lucie Rie 1

Lucie Rie 2

Lucie Rie 5

Lucie Rie 6

Lucie Rie 3

Lucie Rie 4

Lucie Rie 7

Lucie Rie 8

Lucie Rie cabernet sauvignon German ink on hp wc paper 15 x 15.5 cm £950 each 92

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Broken Shadows mixed media on panel 41 x 58 cm £3,800

The Birthday Party mixed media on panel 41 x 58 cm £3,800

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Grapes Caravaggio mixed media on panel 28.5 x 39 cm £2,500

Darjeeling and China mixed media on panel 41 x 58 cm £3,800

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French Coffee Pot; Pears; Blue Shadows ink on Somerset paper 28 x 31 cm £1,150 Fallen Pears in Vieux Logis Garden ink on Somerset paper 28 x 31 cm £1,150

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Rose Garlic ink on Somerset paper 28 x 31 cm £1,150 Coeur de Boeuf Tomatoes 1 ink on Somerset paper 28 x 31 cm £1,150

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BIOGR A PH Y

SELEC TED COLLEC TIONS

Christine McArthur was born in Kirkintilloch, near

Collections Lord Irvine of Lairg

Gertsev Gallery, Moscow

Glasgow in 1953 and studied at The Glasgow School of Art

Scottish Arts Council

Gertsev Gallery, Atlanta, USA

between 1971 and 1976, which included a post-diploma

Glasgow Caledonian University

Pernod Ricard

year. After graduating she taught and produced book

Arthur Anderson

Brian Maule, Chardon d’Or, Glasgow

illustrations until the demand for her work enabled her to

Scottish Nuclear PLC

Edinburgh Tapestry Company

paint full time. Her early work was primarily in oil and she

University of Strathclyde

Aberdeen Asset Management

became well known for her large scale still life paintings on

Amerada Hess Corporation

Jam Jar Restaurant, Bridge of Allan

canvas. In the late 1980s she began to work in oil pastel and

Craig Capital Corporation

Gamba Restaurant, Glasgow

watercolour but more recently she has reverted to oil, as well

Lillie Art Gallery, Milngavie

Caffe Parma, Glasgow

as acrylic, gouache and collage.

Argyll Group PLC

Christine McArthur was awarded Scottish Education

United Distillers PLC

Department travelling scholarships in 1975 and 1976 and

Clydesdale Bank PLC

was elected a member of the Royal Glasgow Institute of the

Macfarlane Group (Clansman) PLC

Fine Arts in 1990. In 1995 she was elected a member of the

Royal Bank of Scotland PLC

Royal Scottish Society of Painters in Watercolour. In 1997

Export & Import Bank of Japan

John Lewis commissioned four large murals – each 6ft x

John Lewis Partnership PLC

15ft - for the Glasgow store in 1999. In 2002 she received a

(Glasgow, Nottingham, Edinburgh &

commission from John Lewis for murals for the extension to

Peter Jones, London)

their Peter Jones store, Sloane Square, London. In 2009 she resigned from the RGI and the RSW.

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Jacqueline Mina The Golden Touch Jacqueline Mina’s technical brilliance, allied with her strong artistic curiosity has resulted in a range of sensuous, understated work, which has a rare aesthetic presence in the field of contemporary gold jewellery. Her superb technical accomplishment in manipulating precious metals is combined with a fine, painterly eye. Sources of inspiration include the work of Amedeo Modigliani (1884 – 1920), visits to the Venetian Palazzo Fortuny, decorated with examples of Mariano Fortuny’s devoré velvet with etched patterns; and ancient Roman and Greek techniques. A Lecturer at the Royal College of Art from 1972 until 1994, Mina has made a significant contribution to art education. She won the Jerwood Applied Arts Prize for Jewellery in 2000 for ‘consistent innovation and a significant contribution to contemporary jewellery… for subverting and taking precious metal techniques to the extreme’, and has also

Above Jacqueline Mina in her studio, 2021 Right Gold & Platinum Brooch II, Modi Series 2, 2018 textured 18ct gold with platinum wire fusion-inlay, H7 x W1.8 cm £2,700 Far right Gold & Platinum Brooch I, Modi Series 2, 2018 textured 18ct gold with platinum wire fusion-inlay, H5.5 x W3 cm £2,500

‘The work of Amedeo Modigliani (1884 – 1920) has held a recurring fascination for me ever since, at Art School in the 1960’s, we were encouraged to study what was then considered ‘Modern Art’. The way he was able to stylize figures and heads by employing such apparently

received an OBE for services to Art. In 2011, the Worshipful

simple lines, while still communicating the figurative subjects of his Art, remains a mystery

Company of Goldsmiths honoured her career with the

to me. His lines speak of a designer’s approach, much as in the work of Ben Nicholson,

retrospective exhibition, Dialogues in Gold, which brought

particularly in Modigliani’s preparatory sketches for sculptures. I have always been

together a selection of her work spanning almost her entire

drawn to this kind of reduction in form & line and, without consciously copying it, my own

career to date. The Scottish Gallery celebrated Mina’s 75th

work certainly can be described as inheriting this abstract style. After visiting the 2018

year with a solo presentation in August 2017.

Modigliani exhibition at Tate Modern, I decided to embrace my love of the artist’s line, to distil it further and, using my tried and tested technique of gold and platinum fusion-inlay, incorporate it into a new series of brooches & earrings entitled the Modi Series. Within these pieces I have attempted to capture some of the artistry of Modigliani.’ —Jacqueline Mina

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From Left Textured and Pleated Brooch, 2014 18ct gold, H6 x W4 cm, £2,560 Pleated Earrings, 2014 18ct gold, H3 x W1.8 cm, £2,300 Pleated Brooch, 2011 18ct gold, H4 x W3.5 x D1.5 cm, £2,860 Textured and Pleated Brooch II, 2015, 18ct gold, bronze patinated titanium, H6.2 x W5 cm, £3,900

‘Goldsmiths have always found ways of making the most of their expensive precious metal: filigree, piercing, thin gauges, for example, so I thought I would experiment with super-thin gold to create a new body of work. The problem with thin gold is that it is vulnerable to damage and consequently requires strengthening. I thought about origami and how folds in paper can make it very rigid and strong so decided to see how it might work in gold.

I rolled 18ct gold sheet as thinly as I could manage – to 0.18mm thickness – textured the surface by impression, then folded parallel pleats into it. It became so rigid that I found it difficult to shape afterwards. To make brooches and earrings I forced it into curves and tubes, also indented the whole rectangle with an impressed line, sometimes covering that line with another element, such as a curve of pave-set diamonds. For contrast with the matt surface, I burnished the edges to make them shine.’

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Left Striptwist Bangle, 2014 18ct gold, D6.5 cm £2,100

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‘Following a research project that I was involved with in 1999 at the Museum of London, in which a Roman sarcophagus and its contents discovered in London’s Spitalfields were being studied, I became fascinated by the ancient technique of ‘striptwist’ and its possible adaptation to my own work. It entails taking a long ribbon (strip) of gold and twisting it to the extreme, forcing the twist to collapse into a tubular form. In Antiquity this was an essential part of wiremaking for filigree before the invention of the draw-plate. I discovered, during my experiments with the technique, that if the ‘tube’ was partially un-twisted a

—Jacqueline Mina

1. Swivel Brooch, 1993 18ct gold, platinum gauze fusion-inlay, H11 x W3 cm, £3,600 2. Oval Earrings 18ct gold, platinum gauze fusion-inlay, H3.6 x W2.5 cm, £1,900 3. Oval Brooch, 1990 18ct gold, platinum gauze fusion-inlay, H3 x W4.8 cm, £1,170

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beautiful, helicoidal form emerged, evoking the whorl inside spiral sea-shells – a small wonder of nature. I have been constantly drawn back to this theme, creating necklaces, bracelets, earrings and brooches over the ensuing years - and I haven’t finished with it yet!

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JACQUELINE MINA 1942 Born Buckinghamshire EDUCATION 1957-62 Hornsey College of Arts and Crafts 1962-65 Royal College of Art, London SELECTED EXHIBITIONS 2017 Jacqueline Mina at 75, The Scottish Gallery, Edinburgh 2016 Out of This World, The Scottish Gallery, Edinburgh 2015 A Sense of Jewellery, Goldsmiths Centre, London 2015 Modern Masters, The Scottish Gallery, Edinburgh 2014 30 Years in The Making, Lesley Craze Gallery, London 2011-12 Touching Gold Solo Tour, Contemporary Applied Arts, London, The Scottish Gallery, Edinburgh, Ruthin Crafts Centre 2011 Dialogues in Gold, Goldsmiths’ Hall, London 2010 Drawing with Objects, Contemporary Applied Arts, London 2009 La Crème, Lesley Craze Gallery, London 2005 L’or, Bijoux d’Europe, touring France 2004 Or gold, Flow Gallery, London, The Scottish Gallery, Edinburgh and Ruthin Craft Centre 2003 Silver Sparks – The Bishopsland Connection, The Gilbert Collection, Somerset House, London 2002 Jacqueline Mina – Celebrating Sixty, Lesley Craze Gallery, London and The Scottish Gallery, Edinburgh 2001 The Ring, Mobilia Gallery, Cambridge, Massachusetts, USA and Ruthin Craft Centre 2000 Jerwood Applied Arts Prize 2000: Jewellery, Crafts Council, London 2000 Schmuck, Munich 1998 British Gold Italian Gold, The Scottish Gallery, Edinburgh and touring Italy 1998 Jewellery Moves, National Museums Scotland, Edinburgh 1995 Modern British Jewellery, Landesmuseum, Mainz 1994 What is Jewellery?, Crafts Council, London

1993 Jacqueline Mina – New Work in Platinum and Gold, The Scottish Gallery, Edinburgh 1992 British Goldsmiths of Today, Goldsmiths’ Hall, London 1988 Shape and Surface, Gainsborough’s House, Sudbury and touring 1985 Jacqueline Mina, Victoria & Albert Museum, London 1980 Jacqueline Mina, Oxford Gallery, Oxford 1979 Jacqueline Mina, Argenta Gallery, London 1976 Realist Jewellery, Oxford Gallery, Oxford 1975 Jacqueline Mina – Gold Jewellery, Crafts Advisory Committee, London 1973 The Craftsman’s Art, Victoria and Albert Museum, London 1965 Jewellery 65, Ewan Phillips Gallery, Maddox Street, London SELECTED PUBLIC COLLECTIONS National Museums Scotland, Edinburgh Leeds Museums and Galleries The Crafts Council, London Victoria & Albert Museum, London The Worshipful Company of Goldsmiths, London Middlesbrough Institute of Modern Art Museum of Art & Design, New York Cooper-Hewitt Design Museum, New York Alice & Louis Koch Collection

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SELECTED DISTINCTIONS 2012 Awarded Officer of the Order of the British Empire for services to art 2000 Winner, Jerwood Applied Arts Prize: Jewellery 1995 Lady Liveryman, The Worshipful Company of Goldsmiths 1985 Freeman of the City of London, The Worshipful Company of Goldsmiths

Opposite 1. Textured Ring, Aleatoric Series, 2016, 18ct gold, platinum, diamonds, size N1/2, H2.3 x W2.1 cm, £2,300 2. Rectangle Earrings, c.2004, 18ct gold, platinum fusion-inlay, H2 x W1.5 cm, £1,250 3. Gold & Platinum Earrings, 2019, 18ct yellow gold, platinum wire fusion-inlay, H6.6 x W1.6 cm, £3,700 4. Platinum & Gold Pattern Brooch, 2017, 18ct gold and platinum fusion-inlay, H5 x W5 cm, £2,900 108

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April Online Events Programme

This April we bring you an exciting events programme that you can enjoy from the comfort of your own home. Join us to celebrate the opening of our April exhibitions with a Virtual View and Toast to the Artists on Thursday 1st April and enjoy a programme of gallery tours, in conversation and meet the artist events.

Toast to the Artists & Virtual View Thursday 1 April, 6pm (10 mins) Matthew Draper Meet the Artist: Tuesday 6 April 5pm (20 mins) Christine McArthur Meet the Artist: Wednesday 7 April 5pm (20 mins) Jacqueline Mina Meet the Artist: Thursday 8 April 5pm (20mins) Matthew Draper Gallery Tour: Tuesday 13 April 5pm (20 mins) The Tim Stead Trust In conversation with Maggy Stead: Thursday 15 April 5pm (20 mins) In the Grain Gallery Tour: Tuesday 20 April 5pm (30 mins) Register online here: www.scottish-gallery.co.uk/events

Left Dru Plumb of Ash & Plumb, 2021 scottish-gallery.co.uk/events

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Published by The Scottish Gallery, April 2021 Exhibitions can be viewed online at scottish-gallery.co.uk ISBN : 978-1-912900-33-6 All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

16 Dundas Street Edinburgh EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk scottish-gallery.co.uk

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Right Christine McArthur Blue Anemones 1 ink on somerset paper, 28 x 31 cm £1,150 Back cover Christine McArthur Window Roses Sketch gouache on watercolour paper 14 x 17.5 cm, £1,250