8 October 2011 - 27 October 2011
Mon to Sat 10am-5pm, Sun 12-5pm
8 October 2011 - 27 October 2011
Mon to Sat 10am-5pm, Sun 12-5pm
RSA Lower Galleries
New Works from the RSA Residencies for Scotland Programme
For a 360° panorama of the show click here.
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The Royal Scottish Academy of Art & Architecture is delighted to present RESIDENT:11, an exhibition of selected artists from the RSA Residencies for Scotland programme in collaboration with Creative Scotland, the Friends of the RSA and The Barns-Graham Trust.
Now in its second year, this exciting scheme provides funded residency opportunities with partner venues across Scotland, enabling contemporary artists a period of research and production. The consortium of collaborators with whom we work all have a long history of offering quality development to, and presentation opportunities for, contemporary artists. For many, their expertise and longevity has formed the back-bone of artist practice in Scotland for decades.
As part of this support, it is hoped that most of the resulting works will be showcased across the country, either at the RSA or at the residency venues where possible. This exhibition is the second of it’s kind at the RSA and presents a number of selected RSA Residency for Scotland artists who’s practice is as varied and interesting as the venues that they visited. A number of artists are still currently in residence, but at present the exhibiting artists include:
Erica Eyres: Pam’s Dream
Video work – tv based , Completed at WASPS, Glasgow
Erica’s new film is based on the season 8 finale of Dallas in which Pam Ewing awakes to find that all recent events, starting with the death of her husband Bobby, were merely a dream…though seemingly “so real”. (Shot using Glaswegian children as actors)
Completed at Taigh Chearsabhagh, North Uist
At the heart of Cheryl Field’s work lies a fascination with human biology and how our physiology, neurology and psychology have evolved over millennia. Selective adaptation has intimately shaped our brains and bodies and our perceptions of the world, in essence the very fabric of our being.
Field’s work is a means to manipulate and make visible the vestiges of this biological past, drawing the audience down the rabbit hole into their own physical and psychological apparatus as a way to reveal, and revel in, the veiled processes that form our response to what is presented and in doing so, reveal some truth about the relationship between matter and the mind.
Her sculptural objects and video works inhabit the margin between the unconscious and conscious mind, where instinct becomes reasoned and intuition becomes thought, it is here that the remnants of our physical histories are at their most vivid.
Completed at Hospitalfield House, Arbroath. The video work It Can Be Transparent Or Opaque displays one part of a grand room containing a great, antique mirror and four doors, two on each side of the mirror. The camera shots and the sound effects initiate a play between the interiors of the room.
New Prints completed at Edinburgh Printmakers Workshop
Katharina Kiebacher : Lexikon
Completed at STILLS, Edinburgh
‘Sketches for an Architecture Film’ contains about 100 photographs and filmed sequences of contemporary architecture from Scotland and Germany. This collection of material was gathered over the past years and revolves around postmodern aestetics and their relationship to the lens based image.
’11 Horizons’ the photographic image seems to be bound by two questions: “When was this taken?” and “Where is it?” The convention of reading photography as doucumentation obscures the fact that the photographic image is first and foremost a constructed image, no matter how realistic it may look like. Next to painting or drawing however, photography is rarely reviewed as the fantastic image it is.
Independent of their origins the images in “11 Horizons” talk about a very basic decision when constructing an image: the seperation of two fields by means of a line. Through the strong formal composition that traverses all eleven images the viewer can glance through a realistic fog onto the image.
Completed at Sabhal Mor Ostaig
New drawings and sound work
Created at Timespan, Helmsdale.
Kennispecki – (Old Norse – the power of recognition)
The two knitting needles are shaped from driftwood branches collected from the shore between Portgower and Helmsdale. The ‘wool’ is made from five drawings (2m x 3m) cut into strips wound into the ball and knitted using the driftwood. (The drawings came from the previous drawing installation How long is now? Sierra Metro 2009).
Knitting refers to many processes; the most obvious being the Gansey patterns on pullovers particular to each fishing community and used to identify drowned fishermen; the appearance of fishing nets and the less obvious; the continuous thread between the past, present and future; casting on and casting off, patterns, dropped stitches, unravelling and holes then gathering together again. It was logical to use the drawings from How long is now? as they had also been created in response to a specific space – the Lighthouse Testing facility at Granton in Edinburgh.
Kennispecki would not have been created without the prolonged observation of tidal movement which created the DVD composition The silence of the moon. The two works gesture towards the complexity of the relationship between humanity and time.
Bobby Niven & Iain MacLeod: The Bothy Project
Currently in development at Edinburgh Sculpture Workshop. A mobile Bothy studio for artists. Large format photograph and results of the artist consultation days undertaken at ESW during the course of the project. http://www.thebothyproject.org
Recently completed sculpture at Scottish Sculpture Workshop.
The four-month residency at Sabhal Mòr Ostaig distinguished itself from other residencies through the intense cultural requirements placed upon the artist, who was contractually obliged to promote the Gaelic language and culture. Although brought up on the Isle-of-Skye, Ross Henriksen was not a Gaelic speaker and so immediately set about acquiring a language that , unlike English, is not of Germanic origin. As a Gaelic college, SMO is an oral-verbally orientated environment. The good-natured tussle between the verbal and the visual was to play a major role in the progress of the residency, especially under such restrictions of time.
Progress with a cycle of large canvases initiated using anglicisations of the Pictish ogham alphabet proved slow. A bridge was required between the influence of Gaelic and Gaelic culture past and present and the drive to visual output. The subconscious stimulation of a surrealistic drawing method proved to be critical. A large cycle of monochrome painted drawings ensued. Unmistakeably figurative elements tie the imagery to the mythic lore of Gaeldom, while their modernity of execution roots them firmly in the present. Interwoven with this, a second cycle emerged in the form of a frieze of linear drawings on a large roll of architectural tracing paper. Intended as a lightpiece, this half-transparent work explores the theme of oral tradition, cultural transformation and piecemeal excavation: the shadow-show of history viewed through veils of mist.
The accompanying film piece further explores the smudged interface between myth and modern, manifestation and meaning in a quantum-mechanical age.