Jonathan Owen purveys en electrical questioning of ideas of permanence and power – the attributes so often associated with the 18th and 19th century marble sculptures that are his favoured raw material. Like Cornelia Parker, he uses ‘found’ objects as a sculptural starting point and enjoys the inherent history of the original object. It offers a way of working that seems especially relevant in the present moment when the conversation around public monuments is being so vigorously re-phrased and reassessed. As Jon says in the short film published today to mark part 50 of The Unseen Masterpiece of the sculpture he has been working on most recently – “it was an object made to project a fixed, singular world view. My intervention is an attempt to subvert and puncture this familiar defunct rhetoric, to re-activate the object through transformation rather than destruction, to make a new proposition”.
This film documents the carving that was underway in his Edinburgh workshop before lockdown began and also introduces a new group of ‘eraser drawings’ that he has been working on at home over the past few months. Like his sculptures, this is essentially a reductive process, a kind of two-dimensional carving of old photos from books – working backwards from blacks through greys to white, gradually removing ink from the surface of the page. The first of these, made some years ago, concentrated on removing sculptures from their plinths, but his most recent series have focussed on images from the history of cinema, erasing the foreground figures of Hollywood stars, and reshaping them into inanimate details of the scenes they once inhabited.
Ingleby Gallery, 33 Barony Street, Edinburgh EH3 6NX
Opening times:Due to the Covid-19 pandemic the gallery is closed until further notice.
After much soul-searching & debate, the Mumble Team have decided that they will be launching a Fringe programme this August if the current climate of social distancing has evaporated. We will also be supplying free tickets for NHS workers as a way of saying thank-you. The Fringe just needs to happen, & with the ethos being one of Open Access, The Mumble are prepared to step up to the plate & keep the Fringe flag flying high.
THE PEOPLE’S FRINGE is a chance to get back to the roots, to 1947 at the start of it all before it became the corporate behemoth of 2019. A certain quote has been banded around the media recently from theatre director Gerard Slevin, who argued in 1961, when the event was less than 15 years old & already starting to swell in size, it would be, “much better if only ten halls were licensed”.
So, that is just what The Mumble will be curating this August; ten venues, dedicated to one of the art forms, & sponsored by Mumble Theatre, Mumble Comedy, Mumble Cirqe & others. Our Mumble Words venue will step into the spheres the Book Festival. Being based in Edinburgh all year round, we are perfectly placed to make it all happen, & its kind of duty to do so, a fringe for the people, THE PEOPLE’S FRINGE.
The Coronavirus may be assaulting the body, but the spirit of the Fringe is immune, & when all gets back to normal – as it surely will -, then the world will once more be able to find cheer, inspiration, hope & solace in an Edinburgh summer festival for the arts.
“Prudence Perched in Paris” is an exhibition at Compass Gallery displaying the work of Adrian Wiszniewki RSA RGI, on until April 4th 2020. Wiszniewski is a Scottish artist of Polish descent and graduated from Glasgow School of Art in 1984. Wiszniewski’s debut solo show was at Compass Gallery where he went on to breathe new life into figurative painting and become part of a group of Scottish artists called the New Glasgow Boys. He has also received global success and his work is housed in some of the greatest public collections such as Tate Britain, London and Museum of Modern Art, New York.
Wiszniewki has a vibrant and unique charm to his work, his style is reminiscent of Matisse’s line drawings merged with the mystical fascination and decorative elements of Pre-Raphaelite paintings or a William Blake illustration. At the Compass Gallery, the exhibition’s artwork is presented alongside the gallery’s collection, which creates an inviting and homely space further enhancing the mystical and folk style imagery of the artworks.
The exhibition as a whole gave the sensation of the mythical being propelled into modernity. One painting depicts two men laying opposite each other. The composition appears to reference Botticelli’s iconic Venus and Mars (1483) but Wiszniewki instead presents a brightly moonlit male couple wearing shirts and ties. It is a crisp, allusive, and modern depiction of a classical narrative.
The exhibition extensively displays Wiszniewki’s varied disposition to colour. In the landscapes colour becomes form. For example, in Postcard from Japan, the trees are defined in bold oranges and reds that twist and recede into the canvas as warm greens and ultramarine blues project towards us from behind and satisfy the senses. Later colour is used in a completely different manner in a selection of his portraits, such as in Two Revolutionaries i where a vast spectrum of colours structure their faces. The colours are glowing as strokes of bright yellow and green emanate out the canvas. Wiszniewski creates a unique sense of depth and perspective with each of the various ways colour is utilised, pulling you in like a dream.
In parts of the exhibition colour is absent and instead the textures and details of the material are investigated. A few portraits are composed of an opaque background colour that frames a portrait on raw canvas where the details of the face are embellished. I was drawn into these paintings, examining how the rough canvas can make such an elegant face.
Each figure is truly unique throughout the exhibition. There is a selection of figures in pen that are reminiscent of a Matisse. The figures are small bursts of personality and with different coloured backgrounds to highlight the subject matter. However, there are many paintings that are completely absent of colour which are just as enchanting. Of these, Oubliette attracted my attention the most. It is an abstract scene of two figures in a tight space, the walls have the texture of bark or perhaps white noise. There is a large set of legs with underwear hanging from the feet which also possess the bark-like texture. It is unclear if the legs are menacing or the next prisoner, as two figures sleep below the feet. It is enchanting and mysterious to look at, and one of my highlights.
Wiszniewki’s exhibition at Compass Gallery is a delight to experience. The work is dynamic, elegant and mystical in this cosy gallery in the centre of Glasgow.
THAT very obligation which the craftsmen of painting owe to nature, who serves continually as model to those who are ever wresting the good from her best and most beautiful features and striving to counterfeit and to imitate her, should be owed, in my belief, to Giotto, painter of Florence, for the reason that, after the methods of good paintings and their outlines had lain buried for so many years under the ruins of the wars, he alone, although born among inept craftsmen, by the gift of God revived that art, which had come to a grievous pass, and brought it to such a form as could be called good. And truly it was a very great miracle that that age, gross and inept, should have had strength to work in Giotto in a fashion so masterly, that design, whereof the men of those times had little or no knowledge, was restored completely to life by means of him. And yet this great man was born at the village of Vespignano, in the district of Florence, fourteen miles distant from that city, in the year 1276, from a father named Bondone, a tiller of the soil and a simple fellow. He, having had this son, to whom he gave the name Giotto, reared him conformably to his condition ; and when he had come to the age of ten, he showed in all his actions, although childish still, a vivacity and readiness of intelligence much out of the ordinary, which rendered him dear not only to his father but to all those also who knew him, both in the village and beyond.
Now Bondone gave some sheep into his charge, and he, going about the holding, now in one part and now in another, to graze them, and impelled by a natural inclination to the art of design, was for ever drawing, on stones, on the ground, or on sand, something from nature, or in truth anything that came into his fancy. Wherefore Cimabue, going one day on some business of his own from Florence to Vespignano, found Giotto, while his sheep were browsing, portraying a sheep from nature on a flat and polished slab, with a stone slightly pointed, without having learnt any method of doing this from others, but only from nature; whence Cimabue, standing fast all in a marvel, asked him if he wished to go to live with him. The child answered that, his father consenting, he would go willingly.
Cimabue then asking this from Bondone, the latter lovingly granted it to him, and was content that he should take the boy with him to Florence ; whither having come, in a short time, assisted by nature and taught by Cimabue, the child not only equalled the manner of his master, but became so good an imitator of nature that he banished completely that rude Greek manner and revived the modern and good art of painting, introducing the portraying well from nature of living people, which had not been used for more than two hundred years. If, indeed, anyone had tried it, as has been said above, he had not succeeded very happily, nor as well by a great measure as Giotto, who portrayed among others, as is still seen to-day in the Chapel of the Palace of the Podesta at Florence, Dante Alighieri, a contemporary and his very great friend, and no less famous as poet than was in the same times Giotto as painter, so much praised by Messer Giovanni Boccaccio in the preface to the story of Messer Forese da Rabatta and of Giotto the painter himself. In the same chapel are the portraits, likewise by the same man’s hand, of Ser Brunetto Latini, master of Dante, and of Messer Corso Donati, a great citizen of those times.
The first pictures of Giotto were in the chapel of the high-altar in the Badia of Florence, wherein he made many works held beautiful, but in particular a Madonna receiving the Annunciation, for the reason that in her he expressed vividly the fear and the terror that the salutation of Gabriel inspired in Mary the Virgin, who appears, all full of the greatest alarm, to be wishing almost to turn to flight. By the hand of Giotto, likewise, is the panel on the high-altar of the said chapel, which has been preserved there to our own day, and is still preserved there, more because of a certain reverence that is felt for the work of so great a man than for any other reason. And in S. Croce there are four chapels by the same man’s hand : three between the sacristy and the great chapel, and one on the other side. In the first of the three, which is that of Messer Ridolfo de’ Bardi, and is that wherein are the bell-ropes, is the life of S. Francis, in the death of whom a good number of friars show very naturally the expression of weeping.
In the next, which is that of the family of Peruzzi, are two stories of the life of S. John the Baptist, to whom the chapel is dedicated ; wherein great vivacity is seen in the dancing and leaping of Herodias, and in the promptness of some servants bustling at the service of the table. In the same are two marvellous stories of S. John the Evangelist namely, when he brings Drusiana back to life, and when he is carried off into Heaven. In the third, which is that of the Giugni, dedicated to the Apostles, there are painted by the hand of Giotto the stories of the martyrdom of many of them.
In the fourth, which is on the other side of the church, towards the north, and belongs to the Tosinghi and to the Spinelli, and is dedicated to the Assumption of Our Lady, Giotto painted her Birth, her Marriage, her Annunciation, the Adoration of the Magi, and when she presents Christ as a little Child to Simeon, which is something very beautiful, seeing that, besides a great affection that is seen in that old man as he receives Christ, the action of the child, stretching out its arms in fear of him and turning in terror towards its mother, could not be more touching or more beautiful. Next, in the death of the Madonna herself, there are the Apostles, and a good number of angels with torches in their hands, all very beautiful. In the Chapel of the Baroncelli, in the said church, is a panel in distemper by the hand of Giotto, wherein is executed with much diligence the Coronation of Our Lady, with a very great number of little figures and a choir of angels and saints, very diligently wrought. And because in that work there are written his name and the date in letters of gold, craftsmen who will consider at what time Giotto, with no glimmer of the good manner, gave a beginning to the good method of drawing and of colouring, will be forced to hold him in the highest veneration.
In the same Church of S. Croce, over the marble tomb of Carlo Marsuppini of Arezzo, there is a Crucifix, with the Madonna, S. John, and Magdalene at the foot of the Cross ; and on the other side of the church, exactly opposite this, over the burial-place of Lionardo Aretino, facing the high-altar, there is an Annunciation, which has been recoloured by modern painters, with small judgment on the part of him who has had this done. In the refectory, on a Tree of the Cross, are stories of S. Louis and a Last Supper by the same man’s hand; and on the wardrobes in the sacristy are scenes with little figures from the life of Christ and of S. Francis. He wrought, also, in the Church of the Carmine, in the Chapel of S. Giovanni Battista, all the life of that Saint, divided into a number of pictures ; and in the Palace of the Guelph party, in Florence, there is a story of the Christian Faith, painted perfectly in fresco by his hand ; and therein is the portrait of Pope Clement IV, who created that magisterial body, giving it his arms, which it has always held and holds still.
After these works, departing from Florence in order to go to finish in Assisi the works begun by Cimabue, in passing through Arezzo he painted in the Pieve the Chapel of S. Francesco, which is above the place of baptism ; and on a round column, near a Corinthian capital that is both ancient and very beautiful, he portrayed from nature a S. Francis and a S. Dominic ; and in the Duomo without Arezzo he painted the Stoning of S. Stephen in a little chapel, with a beautiful composition of figures. These works finished, he betook himself to Assisi, a city of Umbria, being called thither by Fra Giovanni di Muro della Marca, then General of the Friars of S. Francis ; where, in the upper church, he painted in fresco, under the gallery that crosses the windows, on both sides of the church, thirty-two scenes of the life and acts of S. Francis that is, sixteen on each wall so perfectly that he acquired thereby very great fame. And in truth there is seen great
variety in that work, not only in the gestures and attitudes of each figure but also in the composition of all the scenes ; not to mention that it enables us very beautifully to see the diversity of the costumes of those times, and certain imitations and observations of the things of nature.
Among others, there is one very beautiful scene, wherein a thirsty man, in whom the desire for water is vividly seen, is drinking, bending down on the ground by a fountain with very great and truly marvellous expression, in a manner that it seems almost a living person that is drinking. There are also many other things there most worthy of consideration, about which, in order not to be tedious, I do not enlarge further. Let it suffice that this whole work acquired for Giotto very great fame, by reason of the excellence of the figures and of the order, proportion, liveliness, and facility which he had from nature, and which he had made much greater by means of study, and was able to demonstrate clearly in all his works. And because, besides that which Giotto had from nature, he was most diligent and went on ever thinking out new ideas and wresting them from nature, he well deserved to be called the disciple of nature and not of others. The aforesaid scenes being finished, he painted in the same place, but in the lower church, the upper part of the walls at the sides of the high-altar, and all the four angles of the vaulting above in the place where lies the body of S. Francis ; and all with inventions both fanciful and beautiful.
In the first is S. Francis glorified in Heaven, surrounded by those virtues which are essential for him who wishes to be perfectly in the grace of God. On one side Obedience is placing a yoke on the neck of a friar who is before her on his knees, and the bands of the yoke are drawn by certain hands towards Heaven; and, enjoining silence with one finger to her lips, she has her eyes on Jesus Christ, who is shedding blood from His side. And in company with this virtue are Prudence and Humility, in order to show that where there is true obedience there are ever humility and prudence, which enable us to carry out every action well. In the second angle is Chastity, who, standing in a very strong fastness, is refusing to be conquered either by kingdoms or crowns or palms that some are presenting to her. At her feet is Purity, who is washing naked figures ; and Force is busy leading people to wash and purify themselves. Near to Chastity, on one side, is Penitence, who is chasing Love away with a Discipline, and putting to flight Impurity. In the third space is Poverty, who is walking with bare feet on thorns, and has a dog that is
barking at her from behind, and about her a boy who is throwing stones at her, and another who is busy pushing some thorns with a stick against her legs. And this Poverty is seen here being espoused by S. Francis, while Jesus Christ is holding her hand, there being present, not without mystic meaning, Hope and Compassion.
In the fourth and last of the said spaces is a S. Francis, also glorified, in the white tunic of a deacon, and shown triumphant in Heaven in the midst of a multitude of angels who are forming a choir round him, with a standard whereon is a Cross with seven stars ; and on high is the Holy Spirit. Within each of these angles are some Latin words that explain the scenes. In like manner, besides the said four angles, there are pictures on the side walls which are very beautiful and truly to be held in great price, both by reason of the perfection that is seen in them and because they were wrought with so great diligence that up to our own day they have remained fresh. In these pictures is the portrait of Giotto himself, very well made, and over the door of the sacristy, by the same man’s hand and also in fresco, there is a S. Francis who is receiving the Stigmata, so loving and devout that to me it appears the most excellent picture that Giotto made in these works, which are all truly beautiful and worthy of praise.
Pope Benedict IX of Treviso sent one of his courtiers into Tuscany to see what sort of man was Giotto, and of what kind his works, having designed to have some pictures made in S. Pietro. This courtier, coming in order to see Giotto and to hear what other masters there were in Florence excellent in painting and in mosaic, talked to many masters in Siena. Then, having received drawings from them, he came to Florence, and having gone into the shop of Giotto, who was working, declared to him the mind of the Pope and in what way it was proposed to make use of his labour, and at last asked him for some little drawing, to the end that he might send it to His Holiness. Giotto, who was most courteous, took a paper, and on that, with a brush dipped in red, holding his arm fast against his side in order to make a compass, with a turn of the hand he made a circle, so true in proportion and circumference that to behold it was a marvel. This done, he smiled and said to the courtier: ” Here is your drawing.” He, thinking he was being derided, said : ” Am I to have no other drawing but this ?” ” Tis enough and to spare,” answered Giotto.
“ Send it, together with the others, and you will see if it will be recognized.” The envoy, seeing that he could get nothing else, left him, very ill-satisfied and doubting that he had been fooled. All the same, sending to the Pope the other drawings and the names of those who had made them, he also sent that of Giotto, relating the method that he had followed in making his circle without moving his arm and without compasses. Wherefore the Pope and many courtiers that were versed in the arts recognized by this how much Giotto surpassed in excellence all the other painters of his time. This matter having afterwards spread abroad, there was born from it the proverb that is still wont to be said to men of gross wits : ” Tu sei piii tondo che 1′ O di Giotto !” – Thou art rounder than Giotto’s circle “). This proverb can be called beautiful not only from the occasion that gave it birth, but also for its significance, which consists in the double meaning ; tondo being used, in Tuscany, both for the perfect shape of a circle and for slowness and grossness of understanding.
Shuvinai Ashoona is an Inuit artist working primarily in drawing. The exhibition at the CCA includes some of her lesser known work; mostly colourful pencil drawings along with some linear work in black and white.
The curation follows the traditional white cube setting with the two smaller rooms containing work in a smaller scale and operating as introductory passages to the spacious back room were mainly larger pieces are displayed.
Overall, I enjoyed the atmosphere of the space in conjunction with the work; especially the back room with the skylight window on the ceiling. The roof was reminiscent of a hut somewhere in a cold place and along with the white lighting it felt in tune with Shuvinai´s work.
There is a narrative in the drawings individually as well as a whole throughout the exhibition. The drawings are very informative about Inuit culture. There´s plenty of recurring elements presented in scenes from daily life. A strong sense of community is depicted and a mix of traditional and contemporary elements.
There´s sense of silliness, tenderness and domesticity and laid out all together they almost seemed to me like a visual diary with vague limits between the personal and the collective. Shuvinai uses a lot of fantastical elements in her drawings. I really enjoyed the normality of these surrealisms within scenes of ordinary life. It opens a window to the artist´s imagination and invites the viewer to approach the work in a playful manner.
The drawings emanate a sense of creative freedom and unfiltered expression. They’re almost seamless. You can sense that Shuvinai enjoys the act of making by the result. Overall, it was a very inspiring and refreshing show.
Oscar Marzaroli, born in 1933 in Castiglione, La Spezia, Italy was one of Scotlands most notable documentary photographers. Currently on show at Street Level Photoworks, is a collection of his most recognisable images from Scotland in the 1950’s to the 1980s.
Stepping into Streetlevel you are immediately transported back in time, to post WW2 Glasgow. The streets teeming with life from the Rag n’ Bone men starting their day to children playing with anything they can find on the street, the remnants of the war can still be felt in these images from the crumbling buildings that frame the images subject matter. The Old vs New is a recurring theme within the exhibition, something that interested Marzaroli greatly almost to the point of obsession within his work. This conflicting theme is clearly shown in images from the Gorbals and surrounding area’s as seen in, “The Old and the New, Gorbals, 1968” a single sandstone tenement stands front and centre amongst the ever multiplying high rise flats. The stark contrast between the two grabs the eye, the small dark tenement being both figuratively and literally overshadowed by the shiny new housing that popped up behind it.
“The Castlemilk Lads, 1963”, is probably one of Marzaroli’s best-known images, and is heavily featured within the exhibition. The gruff and stoic looks of the young boys epitomise growing up in 1960’s Glasgow. Although the boys that feature in the images were not in a gang as they were often thought to be, but rather a bunch of school mates who had just finished a country run. Making the narrative of the image completely different to initial perspective. The boys went their separate ways not long after the image was taken, but are now eternally bonded by Marzaroli’s testament to Glasgow Youth.
Along with the beautifully developed framed images, the exhibition is dotted with large scale versions Marzaroli’s contact sheets. When looking at the contact sheets, you get a real sense of Marzaroli’s style of working. With images like “Boys in Heels” and “The Castlemilk Boys” there’s only one image, a quick snap and then onto the next subject matter, a similar style to that of American photographer Vivian Maier. By seeing contact images next to final images, you can see Marzaroli’s the thought process in a physical manifestation, rather than just a final outcome.
This is a beautiful exhibition showing the best of Glasgow’s bygone day’s, open now till March 15th at Street Level Photoworks.