Felicity's site-specific work is an exploration of line, narrative, material and the pervading spirit of place or ‘genius loci’. She is fascinated with words, with making, researching and exploring the physical structure of books with people and buildings. Immersing herself in site related research and responding to a location is how she generates and develops her work relating to specific locations and communities. In recent work she has been exploring the complexities of the ‘analogue book’ in abstract in site-specific locations in Scotland. She has been developing the themes of ‘transformation’ and ‘abstraction’ of the book on a large scale with a restricted palette of materials; ink and saline, paper, cloth and linen thread or rope.
Working within the expanded field of painting, Emilia Beale creates pieces that foreground materiality and aim to test the limits of painting, sculpture and textiles.
Lia is in her fourth year studying Fine Art: Painting at the University of Edinburgh. Her practice explores the breakdown of interior architecture on a 2-dimensional surface, combined with concept portraiture through objects and pattern to suggest the human presence within the spaces she paints. Obsessed by perspective and the painted surface, Lia's compositions aim to invite you in to explore the characters behind each room. She works predominately with oil paint on cotton or linen canvas, and on a life-size scale to enhance the experience for the viewer.
Shauna Emig defines her practice as recycling and re-contextualizing rather than the creation of novel material. Her collaging is the result of an ongoing fascination and obsession with processing ubiquitous found imagery that she compulsively collects from advertisements, magazines, photography journals, vintage pornographic periodicals, films and books. This imagery is random but intuitive; the collected pictures range from eyeglasses, boots, pies and perfumes to the contorted torsos of nude females and the ripped bodies of muscular men, as well as fascinating species of animals and exotic patterns and arbitrary textures.
This most recent body of work processes a selection of images into small, plain and uncomplicated collages that have been translated into intricate, detailed and obsessive graphite drawings.
My work draws mainly on memories and experiences of villages and cityscapes, incorporating model making, light-based installation and photography to create a strong sense of place . In particular I am interested in ramshackle sites where the evidence of a repeated generation and structures creates a clear sense of the passage of time and the transitory nature of existence. This piece specifically was inspired by a floating village I saw in Cambodia this summer. It comprises a series of lit models based on my impressions of the site which aim to reflect a specific place but are simultaneously illustrative, abstract and dreamlike in form.
Fabianne Jones is an Edinburgh based painter whose work focuses on the psychological experience of the mundane and everyday. Working mainly in oil paint and mixed media, Jones builds up a textured and layered surface, that partly abstracts the scene creating a strong sense of mood and delaying the recognition of the subject matter at hand.
Adele's work is inspired by everyday life, people's reactions and her own thoughts and emotions. She pays a lot of attention to detail and uses bold colours. Most of her work can be translated using symbolism. Every element in her artwork represents something and sends a message to the viewer.
This exhibition brings together a collection of portraits of the previous members of Dunbar’s Christmas Lights Committee.
It celebrates the traditions and community values of the last 30 years and captures the people behind that long lasting tradition of Dunbar’s Christmas Lights. This collection was funded by Awards for All Scotland Big Lottery funding.
The work of Alice Lazarus takes inspiration from sacred spaces and landscapes, often utilising elements from buildings of religious worship, archaeological sites, as well as history and myth. This is translated into prints, paper works and sculpture.
Яachel Lee is an Intermedia Art student currently studying at Edinburgh College of Art. Through inward reflection regarding her conflicting views with personal, cultural, sexual, and religious identity, Яachel Lee is able to touch onto the multi faceted nature of the human fabric.
The current focus of Siobhan McLaughlin's work is the aerial viewpoint; of looking down into the urban environment with thought relating to space, distance and relationships between those living in the city and their surrounding landscape. McLaughlin is specifically looking at the relationship between different cities in my Edinburgh-New York series at the moment, thinking about how the shapes and colours she uses reflect my experiences of drawing in both environments. She has loved working in a more connected way with the materials she currently employs, saturating the surface with oil bar or creating her own paint from found pigment mixed with linseed oil. Her interest in paint has drawn her to the tactile quality of fabric and materials and she is beginning to sew and bind materials together to create a large scale surface to work on.
Wendi Men's practice is an exploration of the freedom of paint. By pouring liquid on painted surface and allow the paints to strip away, to create an ambiguous and abstract narrative. By repeating this “washing away” process, the painting itself contains its own memory and then creates distance between the artwork and audience.
Kieran Mitchell has been researching the image making of Gothic horror cinematography, exploring ideas of the uncanny in order to excite feelings of mystery and unease. Physicality plays a key role in his practice: Painting with mixed media and oil on board, as well as incorporating found objects.
Julia Oborne primarily works in oil paint, yet her work often incorporates drawing and sometimes mixed media (such as embroidery).
'My work stems from imagery surrounding the swimming pool, focussing on the shapes, tones and lines created by the architecture and moving water. I am particularly interested in developing work that conveys themes of movement and perspective as well as composition, tone and colour that are predominantly expressed through abstract painting and made objects.'
''Prints and ephemera related to careers global warming and animals in nature by India Pearce'' ?
A portraiture study experimenting with light present in the streets of the city during the winter and summer and the creative effects it can have on the chosen subject.
Callum Russell's work is concerned with the nuances and hidden meanings of language. By examining and reassessing the status of words through a process of creative play he hopes to reveal new ways of looking at words and thinking about the language we use.
that he has personally experienced and have longed for. The creative practice is therapeutic in helping his mind take a rest. Through this process he can ask himself what is in his mind.
Alexandra Roddan paints colourful, densely layered, abstract cityscapes. Alexandra uses grids to organise marks she makes on the canvas, creating busy and spacious areas. Balancing chaos and control; her work is a visualisation of her thinking process. When she paints she uses imagery from a wide range of sources. Music can be a key influence to the colours she uses and the form different marks take and how these interact on the painted surface.
Research as practice and personal experience are at the core of Clare Robertson's work. Existing between theory and visual practice, I integrate autobiography with social criticism, identifying keenly with the concept of fictocriticism. My work is diaristic and adopts a flow of consciousness as technique — I explore the self, identity, emotion and aspects of the artificial reality in which we live. The work takes form through preformance, audio, text and giff like videos.
Landscape work of the Natural World
Phoebe Ryrko strives for something experiential, her primary concerns are based in the process of making: grappling with inconvenient surfaces, sensing movement, and responding to colour. The work is condensed phenomena. Taking oneself to a surface, pouring paint, brushing glue, grappling with colour and form she becomes entranced. Wanting to make a material world there, deeper than brush strokes; something untamed, outside the history of art, a surface that both fights and, invites. Ryrko sticks dried plants and wild things to the canvas and plays with it in a sort of dance.
Aidan Stephen is an Edinburgh Artist. His work focuses on shadows and the interactions of colours. Using shadows of cowboys his work explores and questions icons and false idols.
Jaleesa Wells is a current doctoral researcher from the USA living in Scotland. She is a creative practitioner. Her current research project is an explorative qualitative study looking at an intersection between creative entrepreneurship and social enterprise. Jaleesa learned to stay curious at a young age, so when given access to "new" materials, she just like to play and see what she can make! Peter Morphew is a practicing artist and qualified archivist. Morphew is presently exploring the University of Glasgow Archives Special Collections spaces and collections for creative content.
JALEESA WELLS AND PETER MORPHEW
Evelyn Wong thinks of a terrain without scale, in which the near and the far fold into each other, sinking, dissolving into itself. everything that gives you a sense of elsewhere, anything that portrays an escape - no, a returning to - of the places that we once came from. A vulnerable sort of reclaiming which is at once an evocation of beauty - in the unattainable, unreachable - and also its allowance of nostalgia. of an opening. like a doorway, like a stepping into, like a stepping out. miles up in the sky, the oxbows and bayous out of the window are anonymous and unfathomable. A desire to be lost, to be far away. but the marshy landscapes a thousand feet below suddenly rush up until it is right before your eyes. this close, Evelyn is reminded of a beautiful closing line from Muhammad al-Fayturi, a Sudanese poet who writes, "when moss has covered our memories/ and grief runs wild through the house." and she reminded of a fire, of the underside of a worn blanket. flames licking the familiar cloth until it collapses into itself. when it is all over a skeleton remains, barefoot, its body padded with moss even though no time has passed.
Her work explores aspects of urban landscapes that are overlooked and unseen. Juanita makes small scale detailed paintings that draw the viewer in to looking at cracks on a wall, bottom of a door or a rusty pipe, for example.