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SIX FOOT six foot gallery magazine / issue 2

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CONTRIBUTORS

Contributors Mhairi Law Evonne Bain Jonathan Keddie Anna Doherty Mara Bragagnolo Mairi MacInnes Kathleen Reilly Andrew Sim Laura Genevieve Jones Gareth Williams Andrew Phillips Editors Koren Heydon-Dumbleton Rich Watson Rhianwen Galbraith Laura Matheson Jack Low Mairi MacInnes Alex Lister Gallery Director Clare Crines Cover Page Evonne Bain Opposite Page Mhairi Law

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Creative Writing Jonathan Keddie 6. Re-Incarnation 13. Blank 41. Exorcism

Articles

10. Lasting Affect - Mairi MacInnes

CONTENTS

In Focus

8. Mara Bragagnolo 19. Mhairi Law 30. Evonne Bain

VOLUME 1 / ISSUE 2

Profiles

38. Andrew Phillips 39. Gareth William 40. Anna Doherty

Whats on

38. Counterflows / Cryptic Nights / Southside Festival / West End Festival

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RE-INCARNATION

BY JONATHAN KEDDIE

-I would prefer to be something that, go on land, that go on land, fly and swim. -Penguin. -Penguins can’t fly. -Ok close, w-what would you go for then?

Creative writing

-Something that can go on land and fly. -Seagull? -Something that could go on land and/ -Take your revenge by pooping on people. -Or I’d be, or I’d come back as a tiger. -Now that would be quite good. -Yeah but, we all got re-incar… According to Joe, Theresa. We all got re-incarnated we wouldn’t remember anything. -True. -We would remember our past, our ideals, our personalities. Anything.

ANNA DOHERTY

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MARA BRAGAGNOLO romantic getaways Mara Bragagnolo is an Italian artist studying Interior Design at Glasgow School of Art. Back in Italy, she studied Art and Psychology, has an Higher National Diploma in 3D design Interior Design and is currently working towards getting the Silver Arts Awards through the Tramway,

profiles

Glasgow. She also studies Screenwriting part-time at the Royal Conservatoire of Scotland.

Interior designers and other designers are commonly seen as the ‘’heartless’’ ones in the art industry because sometimes it is difficult to express feelings and emotion through designs, but I do feel really strong feelings for interiors and places and I wanted this to be evident through my work. I have a passion for those places that are not designed to be attractive and they are not meant to be beautiful, but I do find them incredibly fascinating, and I often fall in love completely with them. I wanted to express how I see these places by helping people to see these places through my eyes, so for my project “Romantic Getaways” I decided to use records of traditionally romantic songs because they always recall a romantic feeling, and I used the photos I took of these places as record cover for them. I wanted the public to look at the cover while listening to the record and experience what I feel. This installation was exhibited in Tramway.

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How did you get into Photography? What kit do you use?

I just started doing photography in the most common way, by taking photos during my holidays, and I slowly started to see things with a photographic eye. This developed through the years and has now become an indispensable part of my life and I look at things in a completely different way than I used to before.

What inspires you? (This could be anything from what you enjoying researching and looking at to hobbies and what you get up to in your spare time)

I get inspired by buildings, some obscure parts of the city, interiors and inspirational

people

I’m

lucky

to

have

in

my

life.

I

have

strong

love

for

films

feel like one influences the other. As a naturally romantic person I do get inspired by my personal romantic life, and I mix all of these elements together.

I struggle sometimes to explain my artistic process because my ideas just come to my head without being the result of a thorough process, most of the times. I get the most inspired by the suburban areas of the cities. I find those areas incredibly genuine and beautiful.

Can you tell us about your most memorable/favourite artistic project and about your most recent one?

The most memorable project is probably a series of photos that I called ‘’Postcards From The Places You Broke My Heart’’. These photos are imaginary break-up scenes where ideally people had arguments or hurtful events. I printed them like postcards because those are universally considered “reminding” objects of positive memories

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profiles

and music and I do find all the creative areas connected in some way, and I


Images: related to places, and for this reason this graphic methodology was chosen to highlight the contrast to the places we try to forget. I had many positive reactions to this project and many people told me that, when they looked at my work, they had goosebumps and that it made them feel, for a few brief seconds, what they felt in these kind of situations. I was really happy that I’ve been able to share emotions with the public and viceversa and demonstrate the emotional connection people can have with places.

What are your next steps? Any exciting future projects you’d like to share with us? New techniques of equipment you wish to experiment with?

I’m planning to go volunteering in Mexico and film a short documentary about

Pages 8-10, 13 Romantic Getaways Installation / Photos, 2016 This installation aims to express how I romanticize some places that are not conventionally beautiful using convetion- al romantic songs on vinyls and replacing the cover with my own photographs. I want the public to see these places through my eyes while looking at the cover and listening to the selected song.

women of Mexico. I’ve always been really fascinated by this violently beautiful country, its culture and its religious faith. I think it will be an amazing place to find those kind of spaces that attract me so much and to get to know a completely different country.

Pages 11-12: Postcards From The Place You Broke My Heart Installation / Photos, 2015 These photos are imaginary break-up scenes where ideally people had arguments or hurtful events. Postcards are universally considered “reminding” objects of positive memories related to places, and for this rea- son this graphic methodology was chosen to highlight the contrast to the places we try to forget.

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BLANK

“I was holding the gun too tight, my veins hurt.

I unclenched and put on the radio, I knew what I was doing. I drove down the motorway.

for a while, then suddenly it was dawn. I turned the radio off.

Line by line by line by line. A car behind screamed its way past me on the inside lane.

A blinding light hit me, rain fell. I fucking hate roadside lamps.Fucking rain, fucking

guy. This guy would not shut his whiny fucking mouth. I turned the radio up louder. I

trees. There should’ve been more. I only realised there should’ve been more

felt the gear stick burn into my hand, my head hurted. It hurt real bad. My allergies

when the sun came up. I got out of the car. I had a packet of cigarettes in the

were playing up. “I put on the radio to drown that noisy fucker in chart music. I was

car, just in case I relapsed. It’s been five years, five long years. I got out of the

suddenly really aware of my feet. I couldn’t move for a second. Thank god for cruise

car. I stopped looking at the trees, I opened the boot and dragged him out. I

control. Thank fuck.

dragged him through the woods. I dragged him across shit and woods, and

B Y J O N AT H A N K E D D I E

“I examined the tree in front of me. It was mossy, like all the other

we were way out. I had no clue where I was, but I kept as straight as I could. “I was almost there. I drove far enough. I pulled into a petrol station, got

I started to shake. I shake all the time. I’m never calm. I never take drugs

myself some chocolate. I stuck the pump into the tank, got back into the car. I ate

for the shaking. If I’m going to shake I’ll shake naturally. I shook my way to a

the bar. I grabbed the wheel and slammed my way upwards to 90 miles per hour. I

clearing where there was no more green. I let go of the body and sat down.

clenched my teeth, it was hard to crack the new dental job but I managed, it didn’t

I sat down right next to him and I looked at him. His eyes were closed, he

hurt. I took the second exit up from the petrol station. I fucking slammed my foot on that

looked warm. At least he wasn’t shaking. I held the gun up, looked into the

pedal, 96 miles per hour. The village was cozy. I remember the place as a blurred one.

body and I felt it. I stopped shivering, for a moment I stopped shivering. His

Warm village green. Beyond the light, I saw a loud forest clearing. I drove right into the

eyes calmed me. I shot him. I shot him over and over again. I shot him. I shot

middle of a muddy forest drive way. I drove really far into that fuckin’ forest. Piece of

him with everything I had, the whole clip was emptied. Every single last shell

ARTICLE

“I stopped. Eventually. I just sat there. I just sat there and listened

shit car that it was, it took three hours to drive right into that green nightmare. My head

ANNA DOHERTY

was killing me, god it hurt. Still does now.

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I had. I lay down next to him. It was so dark.

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“It’s hard to dig with your hands, but when you’re desperate it feels natural. As if I

was an animal all along. I dug a whole big enough and deep enough... The gun too, I threw all that was bad with the body. I wasn’t shaking anymore and I haven’t since. He slept with my wife you see.”He took a sip of water. He’d been talking for quite a while. The two police officers were smartly dressed, pristine trench coats slung around the back of their chairs and clean cut white shirts. The room was bare, your typical interrogation room. The oneway window, the stale white walls, the seedy undercurrent left behind from all the criminals

ARTICLE

When the heavy talked it reverberated through Frank. He started to shake

“Frank Conrad.”

The smaller police officer stood up and got his trench coat off the back of his seat.

“I held the gun, I saw him and I shot him. What more do you want.”

could he not be guilty?

“You didn’t kill him.”

again, Frank knew that he killed him. He held the gun, saw him and shot him, how

that came and went.

The heavy turned concrete. His features stayed, as they were, solid and

unmoving. His eyes fixated on Frank. His expression blank.

“Thank you for that.”

He walked out of the room, leaving the heavy behind. The heavy was a lot more

silent than the smaller guy, his face a stone bust, a lot less casual too. His clean-cut shirt never moved. He must’ve ironed that thing more than four times this morning. Frank’s confession was nervous at best. It didn’t help that he shook throughout. The heavy police officer looked at him. His manner made Frank ill at ease, he worked the silence too well.

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Images featured are a selection from the following photo series: Interventions, 2016. Pages 3, 18, 22/23 Chile and Bolivia. Burnt Ice, 2016, Page 20. Torres del Paine National Park, Chilean Patagonia

MHAIRI LAW

Through medium format photography I explore environmental and social themes, focusing mainly on landscape imagery, with outlooks to wider concepts. I am intrigued by what the land can tell us about its people, and what the structures and etchings left by the interaction of a society with their natural environment can tell us about their culture, their attitude towards the landscape or their reliance on it. Faint shadows of old runrigs on a hillside, machine-flattened ground for a football or camping pitch, pitons driven into rock faces, drystone pens, wind farms, huge loops of steel and net trapping jumping fish - these are mere fragments from a larger story that can tell us how a society has connected, or connects with our natural world in a practical, everyday way.

eilean | island, 2014 - 2015. Page 21. Isle of Lewis, Outer Hebrides.

Inspiration for my work comes in the form of friends, family and former tutors who continually spark discussions about image-making, artists and ideas. The recent history of Scotland and its current politics also continually helps to shape my thoughts and approaches towards the concepts of my work. However, being blessed to be from a particularly beautiful part of the world, my biggest inspiration comes from the land. My photography generally goes hand in hand with what I love most - the mountains of the west coast of Scotland and the waters that surround them. Being in the hills and sailing here has always been a part of my life, which demands a knowledge of and a respect for the elements which dictate them. This respect continues to galvanize the core ideas that I attempt to communicate through my images today. For instance, in a recent project shot in Chilean Patagonia I pair images of the charred remains of a forest fire with images of the areas largest glacier, Glacier Grey. My intention is for the diptychs to comment on the short and long-term consequences of humans on our natural world. As I explore and capture these unique environments, I also feel a certain respon-

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PHOTOGRAPJHY

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sibility. They have given so much to me in terms of joy and awe-inspiring adventure that I am trying - through my images, which hopefully inform or ask us to question - to give something back. For the past six years I have shot most of my images on medium format film, using a square format Bronica. Medium format suits the way in which I take pictures; I love the robust, indestructible feel of my camera, with the 12 exposures on a roll pleading me to slow down and consider each picture that I take. It’s not so big that it stops me taking it everywhere though, and I have happily had it slung around my neck up mountains and masts, on open boats over seas, and on my back through Scotland, Iceland, South America and most recently the Faroe Isles. It’s an unusual looking beast, and I love when it sparks conversations from curious passersby. I have a couple of different lenses, and rarely feel the need for flash or a reflector - I like to keep things simple. For me, choosing what to shoot is comparatively clear. Once the idea is there, the image-making comes instinctively. My approach is purely observational rather than through the precise construction or set-up of an image. The editing process of my photographs relies so much on context. I was taught to be critical of my images and I continually question if they convey what I am attempting to express with them. Sequencing is often what I find to be the hardest job, as this will make or break whether anything is expressed at all. The thought that is behind each image could amount to nothing if this part of the process is not given careful consideration, and I always seek out the opinions from people I trust.

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This was certainly the case for one of the more memorable projects I have undertaken, which was based on the Isle of Lewis in the Outer Hebrides of Scotland. It sticks out in my mind as a turning point, as it helped to refine my ideas and the way in which I shoot many of my images now. It also opened a lot of doors for me - it was on the back of these first images that I received a residency with Stills: Centre for Photography in Edinburgh, and sparked the ideas for my first major show outwith university, eilean | island, at An Lanntair Arts Centre in Stornoway, in which I collaborated for the first time with the wonderful artist (and incidentally, my mum), Pat Law. It was images from this exhibition that I submitted for the Jill Todd Award at the end of last year, which I am delighted and honored to have won. Following on from this, my most recent project took place on an expedition with The Clipperton Project in the form of a month-long artists residency to the Faroe Islands. This was a fantastic opportunity to take the ideas and concepts that I have initially explored in areas that are very familiar to me and apply them into unknown territory. It was fascinating to discover the similarities and differences between Scottish and Faroese landscape and culture. Having arrived back in Scotland only two days previous to writing this, I am still processing the whole experience and, more importantly, the small mound of 120mm films that I shot there. On returning from the Faroe Isles I believe more than ever that, although relationships between the land and its people are simple in concept, they are fundamentally important. We all need to find a way to keep connections with our natural environment, and the examination of physical memories in the landscape can help with this. An understanding of our past will help to inform our present and in turn protect our future. I believe that an awareness and, very importantly, an enjoyment and respect of our own personal relationships with the land is absolutely essential. If my images can in any way contribute towards this positive understanding or respect, then I have succeeded my goal.

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LastING AFFECT

Tell

artists after

us a bit about yourself and your practice.

Laura: I work with moving image, digital media and performance to explore ideas of habitual

Kathleen: I graduated from the Glasgow School of Art’s Silversmithing & Jewellery department in 2015. Although I am trained as a silversmith, my work is very interdisciplinary. Currently it is concerned with dining

text by mairi macinnes

presentation and hospitality, particularly the interactions occurring during mealtime. I am fascinated by the relationships between user and object while perceiving

Glasgow’s biennial contemporary arts festival

eating as a ritual, which should be altered and enhanced.

returned this April for the seventh time

I create tableware in found objects and metal using a

in all its wonderfully weird and dynamic

jet cutting. My designs aim to be playful and conceptual;

glory. Once again the festival highlighted

often witty outcomes hide sometimes ambiguous functions.

Glasgow’s prestige as a creative hub, rich

In reinventing the common place I hope to challenge

in diverse and unique artistic institutions

and transform experiences with my work. I often use the application of videography to facilitate and translate my

dotted across the city. This year’s festival

ideas. In regards to ritual I tend to create work to be

exhibited the work of over 200 artists, based

used and recorded in interactive installations as a way to

both in Glasgow and beyond. We asked

fund additional research and generate public response. By expanding my investigation of everyday items I hope to

three Glasgow-based artists, Kathleen Reilly,

challenge accepted practice and explore new concept in

Andrew Sim and Laura Genevieve Jones to

regards to conventionality. I will begin an MA in Jewellery

share their thoughts on this year’s festival.

Andrew: I graduated from the sculpture and environmental

arbitrary situations and endotic rhythms and

art dept. of GSA two years ago. I currently work for the

patterns. I am currently one of the Graduate

Poetry Club and Voidoid Gallery. My practice changes

Residency Programme 15/16 artists at Many

quite a lot to incorporate different media but there

Studios. For my residency I have been working

are themes running through it. My work tends to focus

with the Still Dancing dance company, a

on mythology, totemism and cultural narratives in the

group of female senior citizen dancers, on

classical and modern periods and the different ways in

an improvised video performance based on

which these are commonly expressed. I try to think about

the ritualistic habitual movements of a former

exhibitions of my work as ways of trying out ideas and

neighbour of mine on her balcony in Berlin.

focusing on a particular medium that I didn’t get the chance to use in art school. For example, for my last three shows I’ve chosen to work mainly in ceramic and for two shows before that I mainly worked with drawing. I think that at this early stage of my practice, its important to be able to try ideas out within a gallery context rather than just in the studio. I’ve been lucky in this regard as I’ve been able to do work with a lot of galleries and artist run spaces in the last two years who have been incredibly accommodating of that.

& Metalwork at the Royal College of Art in September 2016.

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ARTICLE

diverse range of techniques from hot forging to water

performativity, gender issues, choreography in

image courtesy of laura genevieve Jones

glasgow international


G.I.

this year for you?

Laura: Sam Smith’s essayistic video performance, Interface, at The Telfer Gallery was really inspiring. His performances are such a clever and innovative way for a moving image artist to present their research and to make the research an artwork in itself. I was really touched by the talk at the IMAGE COURTESTY OF KATHLEEN REILLY

Glasgow Women’s Library from Tessa Lynch, Jenny Richards and Rhona Warwick as part of the Speaking Volumes series. They discussed the act of walking or commuting as being part of their creative practice and the implications of being a female flaneur or ‘flaneuse’. A woman walking in the street with no purpose is still considered a radical act because she immediately becomes available and sexualised. I could really relate to this discussion as my practice involves a lot of walking without purpose and I have always felt that there is a certain performativity needed to mask any vulnerability. As part of the No Right Way To Cum exhibition at Transmission there was a great series of events by Linda Stupart called COVEN. I spent a lovely evening with a group of women doing a full moon ritual and creating personalised charm bags to ‘welcome all parts of yourself back to you’, lead by Stupart and Katrina Zaat. I thought the gallery was such a fitting

ANDREW SIM

space for this kind of activity and it was a very refreshing experience. I think it is really important for women to have time to connect with each other, themselves and to nature and to heal from the trauma of everyday sexism. That kind of support is invaluable.

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How

has the festival influenced your own practice?

Kathleen: I think (hope) most people are aware Glasgow has a great arts community and culture so the festival really brings out its character. Sometimes you can forget about its attraction amongst the grey skies, but luckily the sun was out this year too making it even nicer to explore the festival. There is only so much knowledge I, or anyone I guess, can gain from a book or online resources so I think for me GI is really important to further understanding and perspective of the arts within

KATHLEEN REILLY

were the highlights of

your surroundings – and even greater a cities atmosphere. Its kind of like drawing from a 2d image ­you’re never going to grasp the full concept, you have to go out there and experience the space or the object (ie the 3d) to be inspired or uninspired (and sometimes the uninspiring can be the most influential down the line). This was important for me as a recent graduate and in my first year of professional practice within the arts so to speak. You have a chance to sort of see where your path could lead to or perhaps where you want to or not want to stand with your practice down the line. My work is very much about solving problems so a lot of the time I’m most influenced

image: assemble

What

by the small technical details of a show like the way something is hung or positioned – this can really excite me sometimes more so than an artwork. I have a solo show coming up soon so curation­ wise I got lots of great ideas especially related to film.

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Andrew: The festival, I think, influences most of the

primary driving force within the Glasgow art scene. It

Glasgow art scene in a variety of ways, me included.

kind of functions like a weird ritual where every two

One thing I definitely took away from my experiences this

years people condense everything they think and do

year is to never show outside of a gallery again.... After

into three really hectic weeks and then it kind of

spending weeks making work the last think you want to

andrew sim

kathleenbreilly@gmail.com kathleenreilly.co.uk

andrew.sim.work@gmail.com andrew-sim.co.uk

Kathleen Reilly is a Scottish interdisciplinary maker currently studying for her Masters at the Royal College of Art in London.

Andrew Sim, b 1987, BA Hon Fine art, Glasgow School of Art, Sculpture and Environmental Art Dept. Andrew currently works at VoidoidARCHIVE and The Poetry Club and is co-curator (with Kirsty Mellon) of Very Friendly, a program of exhibitions based in Glasgow.

purges it from everyone’s system. It also injects a

have to do is to deinstall the work then reinstall it at

real flexibility and fluidity into what can sometimes

6am. We had to do this as we were exhibiting in a club

be a stratified art scene, allowing people to work at

space. I think that the festival also influences my practice

a different level than they have in the past and also

as it lets me see artists working at every stage of their

have their work seen by people from around the

careers. This means it’s easy to find things and practices

world who might not have otherwise.

that I can identify with. Seeing so many exhibitions one after the other (I did make it out for a few days) means

Laura: I have been considering moving into live

that after looking at the actual work, you can start to

video performance for a while and seeing Sam

see the professional practices of the artists and compare

Smith’s performance gave me the little push I

that to my own practice. I think this is one of the

needed to start the process. I also have a couple of

primary ways in which I think about my own work and

friends who are interested in setting up a coven in

where I can develop. Seeing so much art all at once also

he lives and works in Glasgow

Glasgow!

allows themes and types of practice to become really apparent, this is great for finding people to work with but also forces me to think about why I either like or dislike a particular type of work and how this relates to my own practice. The festival is also aspirational, because there are so many artists at different levels, its only natural to think about what I would need to improve in order to

image: assemble

be working at a higher standard. I think the festival is a

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Laura Genevieve Jones yonabout@outlook.com yonabout.hotglue.me/ @LauraGenevieve_ She studied a BA Hons in Dance and Visual Art at the University of Brighton, an MA in Artists’ Film and Video at UCA, Kent and an MRes in Artists’ Moving Image at Central Saint Martins. Inspired by her background in dance, she works with moving image, digital media and performance to explore endotic rhythms and patterns: The extraordinary within the ordinary. Her practice often involves working with community groups and endorses unconventional and experimental methods of collaboration

ARTICLE

kathleen reilly


Originally I am from Glasgow, but moved to Edinburgh to pursue my photography career at Edinburgh College of Art. For two years prior to moving to Edinburgh I attended the Visual Arts Studio in Tramway in Glasgow, where I built up my portfolio. Originally I was applying to

evonne bain

do painting but soon realised that I was too self conscious to paint or draw, and photography allowed me to explore my creativity without being able to rub it out. A lot of my work that I started making whilst at tramway naturally stemmed from photography anyway and so I carried on taking photographs. Now three years on, I am approaching my final year of my studies. Last year I had the opportunity to go on an international exchange trip to Baltimore, Maryland USA. For sixth months I attended Maryland Institute College of Art, where I was able to study from a new perspective, with new people and challenging projects. I thoroughly loved every part of it and it has definitely influenced the work I have made since returning and will continue to influence the work I make in the future. Whilst residing in Baltimore I was able to have my first Solo International Exhibition, which was a great opportunity and from doing so has also made me develop an interest for working alongside international and varied individuals. Over the years of me studying photography my style and ideas have changed a lot, but I mainly combine documentary and fine art photography. For me, the camera allows one to step into communities and situations and take a look and also to step back, reflect and comment. The act of observing, making, and sharing an image, has the capacity to reflect authentic connection between people and the self. It shifts the way in which we perceive other cultures and who we are in relation to one another. Personally I am confounded by the 30

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proceedings of everyday life, and so my work reflects my interest in the beauty of daily life. In contrast to the fast-paced life, it is the everyday moments in their simplicity, banality and gentle melancholy that I wish to capture. There is something about the notion of the everyday that is both comforting and challenging. I am constantly questioning and being questioned by the world around me, so my research and work feels like a meditation on confidence in that way. I also endeavour to engage more with the human condition and explore how we as humans relate ourselves to one another, but also to nature and our surroundings. I find it truly astounding how much humankind has changed the face of the earth through its extensive interventions on the natural landscape. Within some of my work I endeavour to trace the tracks humans leave behind in this world. For me the photographs function as evidence. Evidence of the tangled web of human lives that lays over this earth. I am truly fascinated by the skin of the world, and the way in which it is constantly changing. I am curious and so I relate to the world through photography. Photography permeates every part of my life and I couldn’t imagine life without it. The simplicity of the ordinary is what most inspires me. People, places, colours and light, and landscapes are all driving forces behind my photographs. And the simplicity of the ordinary is what most inspires me. Also young contemporary photographers largely influence me, and it is inspiring to see such youthful creativity coming from people my own age. With the infinite possibilities offered to our generation by technology and the internet, I am able to find and share this work. 32

My artistic process really depends on the project. But predominantly my ideas and images are drawn from travelling, personal experiences and encounters with new spaces. So I take a lot of walks, sometimes to get somewhere, sometimes to simply look, always with a camera. Within my work I do not want to devise something but more refer to something, to provoke certain emotions not only by looking but through experiencing it also. Therefore I seek to attune the viewer to the little details of what it means to be here and now. I mainly work in analog, just because it is what I feel more comfortable using. Analog promotes slowness, reflection and an awareness of the choices that I make. It is necessarily limited by the number of shots of the film, which is a great practical disadvantage but an advantage from the linguistic and formal point of view. Even though fewer shots can be taken on analog cameras the editing process for me is still as long. I tend to work with diptychs or in series rather than the single image, so contact sheets are a real life saver. My go-to cameras range from a 35mm, to large format cameras. But I have to say I mainly shoot on medium format, my favourite being the Hasselblad. When I was in America I managed to pick one up relatively cheaply and it has probably been my best purchase ever. My favourite artistic project to date was when I decided to focus my attention on a holiday village on the outskirts of Edinburgh called Seton Sands, that is home to over 700 caravans. I became fascinated by the modular structures of caravans, the copy and paste nature of them and how the residents there make the space their own, to me Seton Sands was a surreal and timeless microcosm. Shaped by its distinctive forms, there is a strange beauty and quietness that sits between the lined up caravans, creating a rarified environment. Thus 33


30. 12.45 31. Number 69 Baltimore

32. Structures Baltimore 34

33. Mystery and Melancholy of a Street 34/35. You Can’t Change History Baltimore. Baltimore 35

36/37. Elsewhere


how do the stay relevant to a rapidly changing society?

I wanted to adopt a silent contemplative tone and explore the private world created by the people that live there. My charge for this project was, and still is, to add something new to the

So what next you ask...Graduation. Graduation. Gradu-

on-going conversation about how these spaces and commu-

ation. As you can tell this is going to be a big year for

nities choose to maintain and negotiate a cultural identity. I

me, and I am extremely excited, if a little daunted by the

wanted to depict the unstable way people inhabit places, and

whole prospect. Alongside preparing for this I have been

how people and places inhabit images.

continuing a few personal projects and collaborating with fellow students.

My most recent artistic project has been examining the role of the ‘monument’ in modern society. Driven by the human

In August I am also going to be involved in a exhibi-

impulse to memorialise, monuments champion collective

tion in Campbeltown (which is not the best place to get

aspirations, providing a sense of continuum in their attempts

to), in an old prison cell with 14 other visual artists. The

to cement certain narratives about our past. An issue which

exhibition is called ‘Confined Spaces’ and so I am in the

caught my attention when I was on exchange in Baltimore was

process of making new work to show. I am really looking

the international activist movement - ‘Black Lives Matter’. It is

forward to being involved in this exhibition as it will be in

an ongoing campaign not only within the city but nationwide,

a completely new territory.

to highlight the racial division in the country. One tactic that they have adopted has been to deface historical monuments that many view as enduring symbols of white supremacy. So since returning I have contributed to question the role of the ‘monument’ today and especially the question of time in relation to memory and monuments - as places of memory. Can we embrace the future of society with the help of monuments? Monuments are about creating a link between the past and the future arching right through our contemporary presence. But

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PAINTER Image: Nightside Ink, pastel, on paper 76x56cm 2015

PhotographeR

GARETH William

ANDREW PHILLIPS

“I wanted to show the beauty of the Millennial generation.” An image from Gareths series depicting the millennial generations personality traits through the recreation of some of the worlds most iconic renaissance paintings in history. Millennials have been characterised in a number of different ways. Negatively they have been seen as narcissistic, lazy and prone to jump from job to job. Positively, our diversity will be crucial to us as we attempt to overcome racism, immigration, sexism, homosexuality and religious differences.

Hailing from the South coast Andrew Phillips is a visual artist, musician, and art therapist who moved to Edinburgh in 2015, heeding a calling to be closer to the landscapes of ‘the North’. Andrew’s art practice lies at the intersection of deep ecology, mysticism, and therapeutic praxis, where he aims to evoke a sense of the hidden numinous within landscape. Working from a view of humanity as not separate from nature, ‘Nightside’ forms part of an ongoing consideration of outer landscape as an inward experience. This winter Andrew will embark on his first solo show, in the bar at the Cameo cinema in Edinburgh. He is also facilitating an art making/deep ecology group named Creen Craft, where participants work imaginatively with experiences of landscape.

Gareth studies at Duncan of Jordanstone College of Art and Design : University of Dundee

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Exorcism -Exorcism, do you believe in it dad?

ANNA DOHERTY

-Bollocks. It’s all bollocks.

ILLUSTRATOR extraordinaire

-What I’ve seen of ghosts, ghosts. I mean its can’t, run

-Bollocks.

Anna Doherty is an illustrator from Scotland. She graduated with first class honours in Illustration BDes from the Duncan of Jordanstone College of Art and Design in Dundee and is currently pursuing a Masters in Children’s Book Illustration at the Cambridge School of Art. Her work has been featured by media such as The Guardian, Design Juices, STV, The Art Room Plant and Not Another Fashion Blog. She enjoys puppies and popcorn and seeing how far she can swim underwater without breathing.

-I know but what if you, what if you became a ghost?

-I’d become a ghost I’d haunt you.

-Yeah but I… -If you don’t be nice to your dad I’d come be back to haunt you.

Website: www.annadohertyillustration.com Twitter and Instagram: @WeeSmout

-Yeah but, yeah but would. Yeah but I would, yeah but I wouldn’t hear or see

you, cause, ghosts would be on an astralprojectal plain. Nobody would see

or hear them, only ghosts or medium ships can.

-Well all of this kinda stuff is all very interesting Gavie. Such a different world. -Or unless, or unless people had the ability to let ghosts into their body.

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jonathan keddie

PROFILE

about so much but you simply can’t see or hear them.


Counterflows - glasgow 7 - 10 April 2016 contemporary music fstival A contemporary music festival inviting musicians from around the world across all genres to perfrom in various venues throughout glasgow. counterflows.com ................................................................................................................................................ Cryptic nights - cca, glasgow Heather lander materials and durations 1.2 14 - 17 april 2016 An imaginative video installation questioning our understanding of physicality and its perpetual movement through time.. featuring orchestral compositions by pete sach. cryptic.org.uk ................................................................................................................................................ Southside fringe - southside, glasgow 8 - 24 May 2016 a fortnight of comedy, performances and music taking place in over 50 venues across the southside of glasgow. southsidefringe.uk.org ................................................................................................................................................ west end festival - west end, glasgow 3 - 26 june 2016 glasgows largest cultural festival featuring everything from traditional folk music sessions and rock gigs, through to comedy shows and the Glasgow Mardi Gras. westendfestival.co.uk ................................................................................................................................................

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Designed and edited by Six FOot Gallery www.sixfootgallery.com 44

Profile for Six Foot Gallery

Six Foot Gallery Magazine: Autumn 2016 Issue  

Six Foot Gallery Magazine: Autumn 2016 Issue  

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