Making things is said to be essential to the human condition. It certainly is for me. The metamorphosis of earth, fire and water by alchemy into objects of beauty is ancient, primitive and expressive of the fragility of existence. It’s also fun to play with mud.
It’s of little interest to me whether my pots are seen as functional or non-functional, art or craft. I don’t intellectualise them or contextualise them (pace Bob Dylan). They may hold water or flowers, they may be decorative, they may be precious, they may be sculptural. You may use them to drink tea or poison.
They are simple objects, intended for contemplation.
New work for the Summer Colour exhibition from Stuart Akroyd, glassmaker.
Jonathan Meuli at Gallery TEN
I have been painting professionally since I graduated from the Ruskin School of Drawing in 1982. During these years I have painted full-time for two periods: 1984 – 1989, and 1999 to the present. The first of these periods was spent mostly in West Cornwall, (where, as a child, I had my first lessons in painting and drawing from the sculptor Paul Mount, and the mosaic artist Jeanne Mount in St Just in Penwith). I also painted for substantial periods in Portugal and in Italy. The second period has been spent mostly in Scotland and France.
in 2011 I completed a research project for the Institution of Civil Engineers, consisting of twelve large paintings together with an online photo sketchbook. Full information on this project is available at http://icepaint.wordpress.com
in 2011 – 2012 I undertook two large commissions on architectural subjects for private clients – one focusing on London’s South Bank (images at http://www.flickr.com/photos/meuli-art/sets/72157627306376811/
The second was for two large paintings of the construction of the Al Bahr towers in Abu Dhabi by Aedas architects ( http://www.aedas.com/). Read more about this commission. Images of the paintings and of the sketches are available to view at http://www.flickr.com/photos/meuli-art/sets/
Recent paintings in this series are made from lines and dots on an iridescent pearl ground. Viewed from some angles, depending on the available light, the ground is highly reflective, from other angles almost matt. Some of the lines and dots are also made from iridescent paint or interference colours. So these paintings change their look as the viewer changes position. Each painting is a field of forces such as attraction and repulsion, coming forward and receding, repetition and mirroring. Some lines and dots are well defined, others are more like drawing or calligraphy. Each line or dot is made from a single stroke. This binary code of lines and dots is ambiguous and open to interpretation in multiple ways. These paintings are purely about the relationship between the ground, lines and dots. This is the complexity of an unsystematic system.
Alan McPherson 2015
Coming soon an all new show Summer Colour at Gallery TEN – we are delighted to be showing some new works by Jonathan Meuli and some exciting new glass from Stuart Akroyd – alongside them we have three new artists to the gallery – Alan McPherson with new paintings – Rupert Merton with his beautiful ceramics and Cecile Gilbert with her acrylic jewellery.
We are showing a collection of prints from The Curwen Press archive. Including prints by Henry Moore, Joseph Herman, Paula Rego, Edward Bawden and others. Some are previously unseen proof copies of works that did not get into edition others are studio proof copies from well known editions.
Last night saw the launch of the new Edinburgh Craft and Design Map. This is a collective led initiative to promote quality Craftsmanship and Design in the City of Edinburgh. For further details go to the Map website at Edinburgh Craft and Design Map
The following link will take you to our E-catalogue for the forthcoming COLLECT 2015 show at the Saatchi Gallery, London. Gallery TEN will be on Stand 7.5 from 08 – 11.05.15
‘Anna S King makes beautiful things. The reductive description of her as a ‘fibre artist’ does little justice to the richness of her work, which is built on a close relationship to the natural world, an instinctive practice of a wide range of craft skills, and an unerring eye for colour and design. Through a continuous expansion of those skills, a study of makers in other cultures – particularly Japan and North America – and a re-learning of ancient traditional skills such as the twisting of fibre from bark and grasses, King has become best known for intimate objects, her woven containers sometimes like baskets, sometimes like nests, sometimes like both.’
Andrew Guest, from review in Crafts Magazine of A Quiet Intervention: Anna S King at Dawyck Botanic Gardens 2011
New works for COLLECT 2015 from Anna S King showing with Gallery TEN on stand 7.5
Coming soon to gallery TEN works by Cat Outram, Edinburgh Based printmaker.
“ I turned professional as an artist when both my sons were very young so, until very recently, worked only part-time. Now that has changed I have started to explore the medium, to try to be more ambitious, more personal in my subject matter. I have been looking at different ways of adding colour by incorporating collograph and monoprint techniques. Further and for this exhibition I have been exploring the possibilities of embossed ‘blind’ prints.
I am drawn to the linear around me; fine detail within the geometric, structural shapes of buildings or landscape. I love the tracery of winter branches against a clear sky, or shapes picked out by sunlight. It is light especially that moves me; its quality either in strong contrast to shadows or as soft tonal layers, as in a scene at dusk”.