All posts by yodamo

Fiona Tan: Disorient


GOMA
14th June 2019 – 26th January 2020


On arrival to the Gallery of Modern Art I was greeted with a mysterious voice echoing through the main gallery. The gallery, dark and luring with two large screens facing each other. In the centre on the floor between the screens there are bean bags for the public to lay down and spectate. I felt a sense of grandeur with these opposing screens that produced two films; one with strange antiques, incense and spices and the other screen showing life in the Middle East and Asia, busy, bustling with scenes of terror and cultural and political conflict.

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I was taken back with the amount of people watching the diverse culture of Asia and the Middle East with some disturbing scenes; in todays culture of mass media we tend to shy away from the images of terror and watch the more subtle passive happenings of life. Both films are documentaries of the Middle East and Asia but both juxtapose each other dramatically. The screen which displays the antiques, weird trinkets and spices is like a fairy tale and an unseen world while the opposite screen seems to pluck on my heart strings. How can the Middle East and Asia look so promising yet be subject to extreme destruction and poverty. While watching the installation we get two views of the story being narrated; one calm, inviting and pleasant the other congested and intimidating at points.

The layout of the screens I think is to show the diverse nature of each documentary and to highlight that contrast. Yet, I feel like we miss out on so much by only seeing one screen at a time. From a documentary perspective we would get so much more if the screens were displayed beside each other but from an artistic perspective it works incredibly well.

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There is narration over the documentary of a males voice, quiet and muffled which reads an edited script from The Travels of Marco Polo. Marco Polo travelled through the Middle East and Asia for 24 years and his writings have continued to influence us for almost 800 years. Tan created this insightful installation almost ten years ago and is still a present participle in todays society and cultural transformation. When Tan’s work was originally created we never had as much access to the media as we now do. Disorient is still a contemporary masterpiece with the ever-changing culture we live in today and will continue to do so.

George Price

Interview: Martha Burns Findlay


Hello Martha, first things first, where are you from & where are you at, geographically speaking?
I grew up near Loch Lomond and moved to Glasgow for university when I was 18. Moving from the countryside, I was enthralled by Glasgow’s distinctive character, warm energy and dynamic creative scene. Glasgow was my home for over 10 years before moving to London in 2015. I always thought London would be temporary thing, but after almost 5 years I’ve really grown to love the place. South-East London is my stomping ground. I’m now currently in the midst of relocating to Edinburgh. I’ve never lived in Edinburgh before but its a city that I’ve always wanted to know better. I’m really looking forward to becoming a Leith local.

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When did you first realise you were creative?
As a wee girl I was very shy, but I was always interested in singing, dancing and acting. After tireless hours of performing in front of my parents in our sitting room, they ended up sending me to drama workshops at Scottish Youth Theatre when I was 11. This really helped me to come out of my shell and to grow my confidence. I also think growing up in a rural village with only 13 other kids at my school nurtured my creativity, as we had to be very resourceful and make-up our own fun. Every year we used to take part in a gala day where we would create a themed float and local farmers would tow us through the neighbouring villages and we would wave at the crowds. We spent the whole year planning our themed costumes from Vikings to rainforest animals, circus performers to pirates. It was the highlight of my year!

Can you tell us about your training?
I’ve always had quite a broad interest in both the arts and cultural heritage. For my undergraduate studies at the University of Glasgow I chose to study both Celtic Studies and Theatre Studies and later went on to do a Diploma in Physical Theatre Practice at The Arches & Adam Smith College.  Whilst at university I became heavily involved in community volunteering and I began working on community arts projects. I later went on to undertake a postgraduate Master of Education in Community Learning and Development which helped to inform my community arts practice. Whilst my formal training has been invaluable, I do believe much of my learning has taken place on-the-job through successive voluntary and paid job roles. For the past 10 years I’ve worked mostly within museum and art gallery contexts, working across multiple art forms.

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You specialise in arts-led community participation and social practice – what is it about this aspect of the arts community that makes you tick?
The opportunity to participate in cultural life and to access the arts is a fundamental human right. I truly believe the arts play a vital role in our shared lives. The arts can be a tool for building bonds between people and communities; it can provide a platform for people to learn, grow and develop; it can be a form of expression and a tool for communication; it can help us to reimagine and reshape our neighbourhoods and cities; and it can act as a lens through which we can see our world in a new light. My passion for arts-led community participation and social practice stems from the transformative experience that the arts have had on my own life, and over the past 15 years I have witnessed the powerful impact it has had on the lives on others. In a chaotic and sometimes difficult world I truly believe that cultural experiences have the power to help us make sense of the world around us and to have some agency in how our world is shaped. It is the tremendous social value of the arts that inspires me to do what I do.

What for you makes a good piece of art?
I really struggle with the categorisation of good and bad art. I believe art is subjective. Personally, I tend to be drawn to art that connects with me in an innate way. It could be a personal connection, art that elicits an emotional response, or something that stirs my curiosity and critical consciousness.

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What is LeithLate and how did you get involved with LeithLate?
LeithLate is an arts organisation that produces public art projects and creative events in Leith, Edinburgh. Founded in 2011, LeithLate has run all sorts of cool creative things over the years including the Shutter Project, Mural Tours, Leith Walkers Outdoor Exhibition and the annual LeithLate Weekends. As previously mentioned, I’m currently in the process of relocating to Leith, so I wanted to get involved with LeithLate in order to get to know the neighbourhood and to become actively involved in the local creative community. I’m also really passionate about art in civic spaces and I really love the work that Morvern Cunningham (Founder and Director of LeithLate) has done over the years. My first event with LeithLate was back in July, co-producing the LeithLate19 Weekend. I’m now currently working on LeithLate’s November programme and a season of events in early 2020.

Can you tell us about the Glow Art Trail?
The show will be an after-dark art trail in and around Leith’s Kirkgate. Bringing art to the streets of Leith, it will inspire people to explore the urban landscape and to see the neighbourhood in new and surprising ways. LeithLate is known for its public art interventions, but we’ve never done something like this before so it’s really exciting. We’ve invited five artists to exhibit existing and new artworks for this show. The featured artists include Edinburgh-based visual artist Abi Lewis, illustrator Ursula Kam-Ling Cheng, film-maker and photographer Lucas Chih-Peng Kao, Dutch-born videographer and projection artist Mettje Hunneman and award-winning Scottish artist Lauren McLaughlin. The artworks include window displays, neon signage and large-scale projections. The trail is free for all to attend and will run over three evenings from Friday 15 to Sunday 17 November, 6-8pm, for people to explore at their leisure. The starting point is the Queen Victoria Statue at the Newkirkgate Shopping Centre at the bottom of Leith Walk. Our November programme has been generously supported by City of Edinburgh Council and Baillie Gifford.

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You’re also collaborating with Pianodrome and Leith Theatre to produce Moon Party this year. What’s that all about?
At LeithLate we love a party. Following our sold-out club night back in July, we’re teaming up with Pianodrome and Leith Theatre on our upcoming Moon Party which will take place on Saturday 16 November. As a continuation of the Glow Art Trail, our Moon Party will invite revellers to enjoy November’s dark nights and embrace the wild spirit of the moon. It will be an immersive night of projections by Mettje Hunneman, live music from S!nk, DJ beats and glow-in-the-dark performances all set within the magical Pianodrome. For those who are new to the Pianodrome, it’s a circular amphitheatre and interactive sculpture made entirely from upcycled pianos. It’s a piece of art in itself. Moon Party is the official launch party of Pianodrome’s ‘resonancy’ at Leith Theatre which runs from 12 November-8 December. Tickets for Moon Party are £10 and are on sale now: https://ctzn.tk/moonparty


GLOW ART TRAIL

Start at Queen Victoria Statue, Kirkgate, Leith
Friday 15-Sunday 17 November, 8-late
Free to attend, booking not required

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www.leithlate.co.uk

Matthew Draper: Firth of Forth

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With Astronaut-ical Sculpture by Arran Ross

2nd November – 1st December 2019

Preview: Friday 1st November 6-8pm


Fidra Fine Art’s only solo exhibition this year is with Matthew Draper SSA VAS PS and will open with a preview on Friday 1 November 6-8pm. Following exhibitions featuring the grandeur of the Scottish Highlands and, most recently, the Sound of Raasay on the West Coast of Scotland, Matthew has turned his attention to the land and seascape closer to his adopted home in Edinburgh – the Firth of Forth.

Matthew’s atmospheric cityscapes of Edinburgh’s Old Town, shrouded in a haar, the sea mist which has crept in from the Firth of Forth, are amongst the most iconic artworks of the city. In this exhibition the city still makes an appearance but on this occasion as a feature of the panorama looking across the Forth from East Lothian.

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Matthew Draper: Downpour (Pastel on Paper)

Of course, no exhibition on the Firth of Forth would be complete without Bass Rock and in this case, the accompanying islands of Craigleith, Lamb and Fidra. Matthew has also been working on a number of pieces from above North Berwick from the Law, looking back along the Forth towards Edinburgh and Fife. The ever-changing weather sweeping down the Forth from the West plays out some of the most dramatic and atmospheric landscapes anywhere in Scotland – the perfect subject for a series of Matthew Draper studies.

Alongside Matthew’s work, the gallery will also be exhibiting a range of Astronaut-ical sculptures in bronze, ceramic and plaster by Arran Ross. Arran provides a little background to these enigmatic figures…

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Arran Ross: Astronaut (Moonshine Edition, Ceramic in White Enamel copy)

The Astronaut first emerged from a series of characters I was creating in drawings and paintings during the 1990’s. It gradually took on a life of its own sometimes appearing in a whole variety of settings and materials. On the surface there is a childlike, cartoon like simplicity but the character is enigmatic, timeless and mysterious -an explorer standing with one foot in this world and one foot in another. There is an obvious sci fi element yet the figure is decidedly low tech – primitive yet futuristic at the same time – a timeless icon part ancient part modern- a next generation Gormley – something of the Romanticism of Caspar David’s Friedrich’s the Wanderer – standing on the hill gazing at the beauty of it all and lost in time: a journey that is as much through inner space as it is outer.

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Arran Ross: Cockenize Power Station

Matthew Draper was born in Stone, Staffordshire in 1973. Studied Walsall College of Art 1991-92 and then Falmouth College of Arts BA(hons) Fine Art from 1992-95. Moved to Scotland in 1997. He now lives and works in Edinburgh. Working in pastel, Matthew is drawn to the drama and grandeur of landscapes. In particular the impact changing light has on both the landscape and the viewers mood and interpretation of the experience. Achieving this through a very hands on style – “My work is made with an intense and energetic immediacy, working instinctively rather than methodically, keeping me physically and emotionally involved in the process. I crush soft pastel in my hands rubbing the dust into the paper in wide sweeps of colour gradually manipulating the material to build up a thick layered surface using the ball of my thumb, the heal of my hand and my forearms.”

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Matthew Draper: Rays and Rain, Part I, Fidra From The Law (Pastel on Paper)

He has had many solo exhibitions across the UK including the The Scottish Gallery in Edinburgh, Lemon Street Gallery, Truro and Beaux Arts, Bath. He has won numerous awards most recently in 2019 with The Baltic Exchange Award, Royal Society of Marine Artists, Mall Galleries, London. His work is widely held in collections both private and public including City of Edinburgh, City Art Centre, Glasgow Museum & Art Gallery, Kelvingrove, Paintings in Hospital Scotland and Bank of Scotland, Edinburgh amongst many more. Matthew told the Mumble a little about his work;

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Matthew at work

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I am interested in and influenced by the dramatic imagery of Eighteenth and Nineteenth Century painting. I admire the idea of the contemplation of landscape in the Romantic spirit, found in the work of the German Romantics like Casper David Frederick and the notion of the grandeur of the landscape as expressed in the work of the American Subliminal Painters like Sanford Robinson Gifford and Frederic Edwin Church. These artists adopted the term ‘Luminism’, defined as light in the landscape and the effect that light has on the landscape and objects within it.

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Matthew Draper: Rays and Rain, Part II, The View From The Law (Pastel on Paper)

As a contemporary artist choosing to adopt this approach to light in the landscape, my interest is not to make straight forward topographical images that are 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 place. The drawings are emotional reactions to events and experiences evolving in front of me; events happening or about to happen. The images become like fading memories or captured moments in time. The making of the work is in itself as set of actions and events which creates a harmony between my process and my interpretation of the subject.


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Firth of Forth

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Matthew Draper:Passing Showers, A View of Auld Reekie (pastel on paper)

www.fidrafineart.co.uk

7-8 Stanley Road (Main Street)
Gullane, East Lothian, EH31 2AD

Sheila Boyle: Delineate


The Vacant Space
1184 Argyle St, Glasgow


Sheila Boyle is something of a rarity within the contemporary production of art with a practice straddling across mediums and dimensions but retaining a clear thematic interest and consistent execution. Her work centres around the urban sprawl; it’s fragmentation and abstraction in our memory of it and the feelings it can evoke in all of us no matter where we might be from.

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Float

Her process is one of automated production, removing her works from any literal reading of a known place. This creates something absorbing and intense in her practice and I can see reason why people may end up projecting their own known environments of home onto her works. She has found the common language of our cities; the bright, almost garish colours, the loud noise and hustle and bustle that sit beside the battle between contrasting elements all striving to exist in one place. Whatever truth lies within them is buried in a blurred memory of space and presence leaving them open for the viewer to find their own known urban framework inside them.

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Tangerine Dream

Definably a printmaker with the majority of works shown in her Delineate exhibition starting life as monoprints before being worked into with acrylic. They are expressive but also considered, colourful without screaming at you and the longer you look at them the more interesting they seem to become. She also had a beautiful steel sculpture on display, it’s harsh welded joins take the lines from her printed works and move them into a different more prominent form reminiscent of those sculptural maps you may find in city centres around the world. Yet it is Sheila’s city and we can only follow and try and find our own way through it.

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Cut The Mustard

My favourite body of her work is her silkscreen prints. These are a clear move away from her other pieces yet retain the same architectural themes somehow acting as a softer nod to the abstract urban environment that defines her practice. They take the line out of the composition, instead relying on a layering of colour and a clever blend of opacity to show a depth of texture often lost in screen printing.

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Dark Dawn Rising

Delineate is on until the 20th of October and is located at the Vacant Space gallery on Argyll Street in the west end of Glasgow. Sheila was a joy to meet and gave me lots of interesting conversation about her practice and her experience as a working artist in Glasgow, if you are unable to catch her at this show then keep an eye out for her next one no doubt coming soon.

Jamie Dyer

Andrew Mackenzie: The Opposite Shore

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The &Gallery, Edinburgh
5-30 October 2019


Its always advantageous to visit an exhibition at the opening event as there is usually an opportunity to meet the artist. Mackenzie was there to meet and greet along with gallerist Avril Nicol and her staff. The venue is such an expansive white space and with the typical mid grey used on art school floors it really sets off the paintings and pastel work superbly. Mackenzie understands the delicate relationship between trees and their importance in flood defence. Three of his works are called just that ‘Flood Wall 1 ‘Yellow’ , ‘Flood Wall 2’ (Orange) and ‘Flood Wall 3’ (Magenta) which are all oil paint on plywood. His work is meticulous. He systematically layers up his paintings and experience lets him know when each painting is complete. He just knows instinctively when its finished.

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Opposite Shore

Walking around the gallery space you are hit with a quiet confidence that exudes from his practice. His acute sense of colour knowledge is apparent in all his works. The use of complimentary colours in ‘Opposite Shore’ (Resevoir 2) where the trees pulse against the olive green background stayed in my minds eye well beyond the experience of standing viewing it. I loved it ! The incongruous cadmium red trees danced on my retinas and brought a sense of joy to me. The colour theory was not lost on me. I could easily relate to all his colour choices and enjoyed his playful attitude while tackling a subject that is very serious and alarmingly relevant to our planets survival.

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Flood Wall

What’s interesting here is the linen like texture that permeates all his paintings. I spoke with him at length listening to his techniques which seem basic but produce such complex results due to his time investment . These are not quick paintings to make. Mackenzie’s unedited paintings include the detritus. Its up to the viewer to explore the negative space and there is an ambiguety that allows the viewer to feel that they are not being dictated to .’ Verge Revisited ‘ explores the regeneration of our woodlands.The relationship between wood and water is a symbiotic one and the execution of snow (water) in this largest painting was painstakingly painted in short pastel blue lines, each line having to be painted twice to pack the visual punch it carries giving an appliqué texture that makes you look twice to check that it isn’t mixed media.

Clare Crines

An Interview with Peter Walker


Luxmuralis are taking their eagerly-awaited
Installation to St Andrews Voices Festival


Hello Peter, first things first, where are you from & where are you at, geographically speaking?
I live and work in Lichfield in Staffordshire. After years of living elsewhere I returned to my home city where I am Artistic Director of Lichfield Cathedral, and I live and have my studio now in the city.

Where does your love of the arts come from?
I became interested in art at around 14, firstly through literature and poetry and then through music, both art forms I pursued tentative steps towards involvement in and then gradually moved towards the fine arts. My love for the arts came from a realisation that through art we can understand a lot more about ourselves, our sentiments our emotions and express these in ways that share, reveal, explore and at times bring people together. The fine arts are not what many people image and a career in the arts is not simply a life in the studio, its an intellectual, often the most intellectual pursuit, an emotive and deeply personal way to explore honestly the world we inhabit. The great thing about creativity is that the artist is free to create, to think, to imagine, to make the “new”, be that reinterpreting the world we see physically or exploring and experimenting with the hidden. A love of the arts really just emerges from being honest with oneself and being open to experiences and learning and engaging with the honestly of individuals who for centuries have explored human existence in all its wonderful complexities.

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Can you tell us about Luxmuralis & your role?
Luxmuralis isn’t a company or business, its an artistic collaboration between myself and composer David Harper. We’ve worked together for years and this collaboration fits a means of working where the visual and sound world come together to create fine art directly together. The artwork is solely produced by the two of us, however we are supported then by a collaborative Social Anthropologist, Kathryn and a team who come in for different purposes. The main work we do together is light and sound production – sometimes referred to a son et lumiere, on buildings or more commonly inside buildings. Unlike many people who do this, the art comes first, not the technical parts of the production, in fact the use of projectors and amplifier are to me analogous to paint and canvas or clay and bronze. They are the media by which the artwork is made rather then restrictions by which we have to follow set conventions. Luxmuralis create work which changes places, and space, often really quite emotional in may different ways and often not what people think or expect. I am the lead artist and artistic director, so essentially I look after the direction of the collaboration and the creation of the visual elements. David creates the sound and sound artworks, although we do cross over an input on both elements so that the natural flow of the work is maintained.

How did the idea come about, & how long has it taken to bring to fruition?
The project in St Andrews is for the St Andrews Voices festival, and is one of this year’s most exciting. It takes up 5 venues – one main production venue and 4 smaller intimate venues. We have been working for around 12 months with the festival director, looking at the subject of Space and the cosmos and considering how this works not only as an artwork but also bringing in a concert element with a collaborative choir which, although we have worked with choirs before, is in this case directly linked to the artwork. The Space link comes from the Lunar landing anniversary, although its not the only reason – being in a church reanimating the space and the architecture and creating a different visual experience for the festival was also key. This is the first year of a three-year partnership and therefore we have worked hard to really structure a project that is unique in its form and also offers a different experience to hearing live voice.

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What is the biggest obstacle you overcame while putting your show together?
Time is a big factor in developing project. But the biggest obstacle is that people don’t always know what to expect and we cant show the artworks and light events until they are complete and inset. So people come not knowing what they are going to see. But that’s also a massive advantage as there is nothing better than watching people sit back and just watch and be consumed in light and sound.

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Can you tell your about your use of light?
Light is a great medium but it is temporary. Most of the art forms I use are permanent, as in bronze, steel or oil But when I found light as a medium I realised that it was the perfect medium for allowing people to be in the artwork, within the frame. Its a great medium for bringing people together. I use it as I use paint or a pencil to sketch, I build a light artwork as I would any other artworks, through stitching, structuring building and completing and rendering the final work is like sending a clay to the foundry to be cast. What is great, though, is that the light is portable, and we can take it anywhere and bathe a beautiful building, or stunning interior architecture with artwork, not only bringing the architecture to life but also bringing the artwork to life.

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www.standrewsvoices.com


Among performing in many beautiful cathedral across England, Luxmuralis will also be setting up at the British Consulate in Dubai, can you tell us more?
We are working in many Cathedrals this year, possibly 10 in total, and these are stunning place to work. The buildings themselves are laden with hundreds of years of history and one walks in the footsteps of thousands and millions of visitors and pilgrims, but light done in the right way, which can take weeks and months to design and create, reanimates the bare stone and bring colour back where once frescos adorned the architecture. Our project is Dubai is coming up this November and is a really nice project with the Embassy for Armistice Day, where we have create a piece which will be presented at the end of the service. We have many approaches for work and many we choose not to develop. Those we do because they offer artistic opportunities and the project in Dubai offered something artistically which was very exciting to explore.

 

How much, have you found so far, has offering such diverse & eclectic multi-media pieces connected with 21st century audiences?
Its actually quite remarkable. Many people will have seen light shows – but the way we do it is a quite different, they art animations or films – they are collections or ideas and thoughts combined into linear time bases work. They are artworks not shows, and as such they connect deeply with peoples emotions. People are looking for experiences at present and art and honest art creates moments that people want to be connected to. People also love to photo the light work, and share what they have seen and thats important as when people take photos these days it means they have invested in it and want to communicate their thoughts and enjoyment of the experience. Our work can be challenging, with cultural and artistic reference developed though an intellectual approach, but its also importantly fun and people of all ages to see and enjoy it, so families and people of all ages come and thats great to see because the more we move through the 21st century the more important this sense of sharing will become

Who are the Gesauldo Six?
They are a wonderful vocal consort comprised of some of wonderful singers. Their director Owain Park is is a remarkable composer and artist and we are delighted that this relationship has developed. They will be involved in a unique way – performing 3 live pieces in the main venue Holy Trinity Church in St Andrews, but rather than doing this once, they will cycle the works each hour and repeat the performances bathed in light and intercut with Davids sound works – it promises to be a wonderful event and partnership. (www.thegesualdosix.co.uk)

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You will soon be setting up at St Andrews Voices festival, where will you be found & what will you be doing?
Our main venue is at Holy Trinity where the central work is around 15-20 long and repeats constantly, with the involvement of the Gesualdo Six throughout. The nave and side will be bathed in light and beautiful music and visitors can sit and watch once or many times and enjoy the aesthetics of light and sound combined. We are also doing a more medative projections around the zodiac with a sound piece in All Saints Church as well as a light and sound installation looking at the sun and Kepler in St. Leonards Chapel. We also have two further installations in a local gallery and small room just off the high street. People can walk around and enjoy all the venues in which ever way they want. Essentially we are using 5 locations to turn the town into a contemporary gallery and performance venue for 2 nights.

You’ve got 20 seconds to sell the show in the streets of Saint Andrews…
This is something St Andrews has never see before, its meaningful yet fun and the whole family can enjoy exploring the streets, from walking into a church where we will take them to the edge of the galaxy and back, standing and watching the sun, the zodiacs, watching the evolution of the universe and remembering the 1969 moon landings, all in one night – now who wouldn’t want to experience that!


BUY TICKETS

Friday 18th and Saturday 19th October
St Andrews
Main installation, Holy Trinity Church, (7-10pm)
Satellite Venues (7-9.30pm)

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www.luxmuralis.com

Grace Schwindt: Five Surfaces All White


CCA, Glasgow
7th September – 13th October


Walking into this exhibition at the CCA I found myself in a four-walled room that held a five-walled screen and a seating area for the audience. Feeling like I had just been admitted to a very uncomfortable padded cell – a very isolating environment. I watched as the five walled screens came to life with the haunting and eerie chants of Schwindt’s voice. mantra inducing. It was as if she was trying to ignore me and communicate with two other isolated figures a man with a trumpet and a young girl beside a horse. The seated man masked Schwindt’s humming with his humming and periodical tones on his trumpet.

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The singing is a form of healing and the horse symbolizes an animal of power and strength but this animal of power and strength is also isolated in it’s own world eating the grass. Through her voice which seemed that she is singing to the environment, she is placed in surrounded by beautiful mountains but also the five white walls. It is as if she can’t escape the man-made world. Similar to the Three Ages of Women by Gustav Klimt there is almost a recognition by the women after her interaction with the man that she is now passing on her knowledge, skills and courage to the child who then mounts the symbol of strength, the horse.

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This exhibit transports you into another world, the world of the artist, the world of mystery almost shamanistic in her approach. As you walk in you step into what seems like another plain of existence and all-encompassing eclectic interpretation of the struggles of life. It is almost like a re-telling of the stories of times gone by that is now lost with the advances of technology and the isolation that comes with it, a loss of community spirit.

These three lost souls struggling to find common ground have eliminated the more common way of dealing with mental health i.e. visiting the psychiatrist and have aligned their value and belief systems with SPK. Socialist Patience Collective(SPK) partly contribute to Schwindt’s performance. They are an anti-psychiatric collective from Heidelberg, Germany. The SPK are also interested and explore themes of the social causes of mental illness. If you are in the mood to face the stark realities of the rat race you won’t go far wrong visiting the CCA before 13th October.

George Price