24 November 2011 at 6pm
Hiding in Full View is a new series of paintings by Alison Watt in which she has been looking at the work of the American photographer Francesca Woodman (1958-98), taking indirect inspiration from the almost hypnotic imagery of Woodman’s intense and dreamlike tableaux.
In the spring of last year Alison Watt was commissioned by the Uffizi Gallery in Florence to make a work for their celebrated collection of self-portraits by women artists. This was an unusual commission, not least because it came nearly 15 years after Watt had last painted the human figure. Since relinquishing the figure in 1997, she has edged towards abstraction, painting swathes of fabric suggestive of both a human presence and absence. During her time spent at the Uffizi Gallery, Watt found herself looking closely at the photographs of Woodman, fascinated by the way that she used the object in her self portraits and how the two elements of self and object often merge.
If it was possible to create a painting that was difficult to identify and at the same time incredibly intimate, that was what I wanted to do – Alison Watt
Joining us in discussion will be Roberta McGrath who is Associate Lecturer in Photographic Theory and Criticism at Edinburgh Napier University. Roberta has published widely on the theory of the image and questions of representation, and has published “Seeing Her Sex: Medical Archives and the Female Body” (Manchester University Press, 2002) which focuses on issues of sexed subjectivity through visual representations of the reproductive female body made between 1750-1910.
18 November 2009 at 6.30pm
Utilizing a range of media including painting, knitting and screen-printing, Ciara Phillips combines two and three-dimensional works to create installations that draw upon a diverse range of interests – from Medieval woodcuts to Memphis design. Phillips’ practice has focused on drawing parallels between various historical periods and traditions by aligning them with observations of her immediate surroundings. This, coupled with her long-standing interest in combining text and image, is reflected in her current works, which hint at a tongue-in-cheek humour whilst also soliciting serious reflection.
Phillips has developed a new body of work that investigates the relationship of the female body to language. A development of recent work in which the alphabet has been employed as a framework from which to draw formal and conceptual associations, this exhibition combines silkscreen prints, murals and sculptural elements to create an installation that invites the viewer to consider language in its conceptual, physical and material manifestations. Using the body as a basis from which to make letters, Phillips draws upon the long-standing tradition of the human alphabet and seeks to propose new arrangements that offer playful possibilities for a personal interpretation of letters and language. The work in this exhibition was developed during the summer of 2009 whilst Phillips was on residency at Cove Park, and subsequently at the Glasgow Print Studios. An essay accompanies this exhibition from writer Ellie Herring.
Born in Ottawa, Canada, based in Glasgow, Phillips studied Fine Art at Queens University, Kingston (BFA 2000) and Glasgow School of Art (MFA 2004). Recent exhibitions include: Vowelled, Glasgow Project Room (2007); Scottish Collective, with Market Gallery at the Royal Scottish Academy, Edinburgh (2006); and The Clamour of Ornament, Glasgow International Festival of Contemporary Art 2006.
