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.
An eclectic mix of POSTERS from Museum & Gallery exhibitions – From the 1950’s – 60’s & 70’s from well known painters, sculptors & artists including shows by Picasso, Braque, Miro, Chagall, Matisse & others – Price range from £750 to £3000 – contact for further details
In 1974 Glasgow historian John Hume photographed a series of derelict stone corn mill buildings on the banks of Ettrick Water in the Scottish Borders. His images, archived by Historic Environment Scotland show a place in decline – rusting corrugated iron roofs; boarded-up windows; interiors filled with broken furniture and abandoned tools; grounds potholed and overgrown.
Just four years later, in these same buildings, the first hot glassmaking furnace was lit and Lindean Mill Glass was born. Now, in 2018, the stone buildings are in pristine condition: carefully restored; set in beautiful gardens and they hum with both people and industry. Lindean Mill has become associated not with grinding corn but with making high quality glass. This transformation lies in the hands of two exceptional artists and designers – one from USA one from Sweden – and is a testament to the importance of international exchange to Scotland’s culture and economy.
From the exhibition CATALOG introduction by amanda game 2018
A collection of objects, sculpture & functional works made from WOOD.Shown alongside will be pictures which share the theme of TREES.Works by well know and emerging artists, both national & international.
look at the wood and see the trees
Incredible vessels from Pascal Oudet, sculptural works by the late Tim Stead, contemporary Shaker ware from Ian Fraser, furniture by Namon Gaston and Isabelle Moore, panels from Adrian McCurdy and quirky works by Arran Ross and Sid Burnard, all from WOOD.
Paintings and original prints from a collection of well-known artists, designed to complement the objects with a collective theme of the TREE. Including Terry Frost, Patrick Heron, Tom Hammick, David Hockney, John Piper & Scottie Wilson.
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!
A collection of Scottish inspired works by the printmaker Jason Hicklin.
“Etching is fundamental to my work; it creates an atmosphere and period of concentration. The act of decision making and commitment to the mark is paramount. The physicality of corrosion, an element of chance which I experienced in the landscape, can be re-engaged with during the etching process. This process, together with the rhythm of a series of prints, again, re-engages me with the walks I have made. The boundaries and limits can encourage improvisation and questioning of the etching process. This is how I work.”
The gallery will be showing for the first time a collection of works by Kristina Chan.
“My works are a culmination and accumulation into site specific history to depict socio-cultural entropic narratives. They explore the correlation between architecture and sculptural landscapes of derelict and disused spaces. I seek sites where the intersection between function and intention have fallen into decline and disrepair, where untold histories recount themselves, in all their brevity, satire, beauty, and collapse.”
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.