Forthcoming exhibition of prints from William Tillyer works will span five decades of printmaking. There will be over thirty works in the exhibition, all available to purchase. Including the Zephyr suite of eight works from 2019.
Coming soon for our 2019 Festival Exhibition Gallery TEN will be showing original prints from Joan Miró alongside will be ceramics from Takeshi Yasuda and glass from Baldwin & Guggisberg. – 03.08.19 – 31.08.19 – Opening 03.08 from 12.30 to 17.30
Born in Edinburgh and educated at George Heriot’s School. Chick graduated from the Polytechnic of Central London, having specialised in documentary photography. He began teaching at what is now Napier University, Edinburgh in 1979 and also taught at Stevenson College during the last two years of his life.
He had close links with Orkney. His grandmother, on his mother’s side, was a Shearer; and on his father’s side he is descended from the Chalmers family of Kirkwall.
He spent three months in Orkney during the winter of 1974/5, followed by a return visit in the early summer of 1976 with the aid of a Greater London Arts Association, Visual Arts Award. In this his finals year he made a body of work which subsequently became a touring exhibition for the London photography collective, Camerawork. It is this series of iconic Orcadian images for which he is perhaps now best known.
In 1980 Chick was awarded a Scottish Arts Council grant as part of an exchange programme to visit the United States to take photographs, touring almost every state over a nine month period and doing over 30,000 miles in an ancient VW camper van.
He returned with a remarkable body of work which was exhibited just the once at the Stills gallery, Edinburgh in 1982.
These images are now to be re-printed in collaboration with ‘The Estate of Chick Chalmers’ and made available for sale for the first time as part of an exhibition programme of Chick’s work. Gallery TEN considers these images to be his best work and represents an outstanding, candid series of images, comparable with some of the greatest American documentary photographers of our time. ‘An American Roadtrip’ will be shown at Gallery TEN during the April of 2019.
Gallery TEN is pleased to announce the prize winner for the 2018 SSA Exhibition Prize is Edinburgh based photographer Rebecca Milling for her suit of black and white images titled “Exit” which depict a series of animals exiting the image frame. Further details of our collaboration will follow in due course.
Working with glass as my medium is always interesting. Using the lost wax technique I am able to create my own unique forms using wax giving me the capability to sculpt with the detail I require. Casting them in glass makes the forms permanent with the addition of vast range of colours, characteristics and textures that glass provides. I like to add found objects or other props to my work. Transforming them into a piece of art, changing their purpose and giving them a new lease of life. In doing so, I want my pieces of sculpture to tell their own stories. My objective is to inspire thought in the meaning and to make people smile!
JAZZ – by Henri Matisse – Cut outs for the book were started as early as 1941, the book was finally published in 1947 in an edition of only 370, hand-coloured using the
pochoir process. In 2004 they were brilliantly reinterpreted by Idem Mourlot, the great Parisian lithographers. The intensity of colour is stunning. The lithographs offered here were published in an edition of 1500.
Drawing figures at work on building sites or at the roadside was the stimulus for this body of work. Unlike life drawing, my subjects were in constant movement and were involved in a very physically demanding real life activity. These initial sketches were then developed in the studio using collage. A distillation rather than an overt simplification of forms occurred and this process suggested interesting and unexpected relationships between the figures.
The tools depicted here were all collected from my family’s farm so they refer specifically to those that have worked that land for over a century. Although obsolete, old and of no value they have been kept and I wanted to record them. The subject matter is static in nature but it has a latent energy as we imagine or remember using these tools. In contrast to photographic documentation, painting allows me to create a less ‘accurate’ but more personal interpretation of these objects. ‘Tools: rakes, hoes, brooms, shovels. The superb identity, selfhood of things.’ Sylvia Plath
The ubiquitous chair is an object that I am drawn to. My husband, Roland Fraser, collects, repairs and makes chairs and we often discuss their specific characteristics, from proportions and patina to anthropomorphic qualities. This work explores the ways an inanimate object like a chair can indicate certain moods or emotions through a variety of treatments from oil paint to collage.