Publication: The Times
mso-hansi-theme-font:minor-latin">Since the early 1990s New Hall at Cambridge University has built up an extensive and impressive collection of art by women artists. This small but strong grouping of prints by Scottish women is a significant addition.
Wilhelmina Barns-Graham’s unmistakable abstract composition is typically vibrant and locates her work in the St. Ives tradition, of which she is an important part. Sam Ainsley’s ‘Red Cocoon’ continues her fascination with that colour. Here Ainsley explores clothing and material as metaphor. Elsewhere Ashley Cook’s intimate narratives are combine photographic, geometric and drawn images. By contrast Jo Ganter uses subtler tones; her semi-abstract intaglio ‘Sienna’ exudes the kind of earthy warmth its title suggests. An etching on hand-made paper by Jacki Parry entitled ‘Implements in their places,’ continues the artist’s ongoing enquiry concerning the relationship between tools and their products.
Christine Borland’s screenprint ‘The Quickening’ demonstrates her fascination with binary oppositions (“a single object is an image, but doubled it becomes an idea”) while Elspeth Lamb June Redfern and Jacqueline Moon all add their own distinctive styles.
Ten prints for the Women’s Art Collection at New Hall
1 Cleveden Gardens
0141 334 2473
Until April 16
(also at New Hall, University of Cambridge April 29 - May 21)
A number of the the artists mentioned above can also be found at the Glasgow Print Studio. It is a demonstration of the excellent reputation of this organisation that artists as different as Christine Borland and Elizabeth Blackadder have chosen to make and exhibit work here. Since 1996 the studio has published over 100 editions of original prints including Adrian Wiszniewski’s ‘Stations of the Cross’ which explores new subject matter while displaying characteristic use of line and colour. In 1999 a suite of prints on the theme of ‘Habitat’ provoked diverse responses such as David Shrigley’s characteristically zany and humorous treatment — an etching depicting scratch marks and lists of other ‘scratchy’ objects such as cats’ claws etc. John Mackechnie’s moody screenprint ‘French Connection’ derives from his photographic exploration of America and is full of cinematographic allusion.
The playfully titled suite ‘Blueprint’ from 1997 includes work by Nathan Coley, Kenny Hunter and Jim Harold. In a philosophical vein Harold, for example, explores the way in which language is linked to imagery and colour.
In a new series of work Fiona Watson explores natural forms and patterning, such as spirals, as well as the mathematical principles which underpin them.
Sensitive Chaos — Fiona Watson
Glasgow Print Studio
22 & 25 King Street
0141 552 0704
Tues - Sat 10 - 5-30
Until May 6
mso-hansi-theme-font:minor-latin">The ever-experimental Transmission Gallery has devoted its space to a number of sound artists who will — over the next week or so — create and perform in situ.
The first work by Calum Stirling involved playing a tape of human voices through software by which the voices were converted to musical notation; this notation was then metamorphosed by the same electronic gadgetry into jazz guitar — accompanied by jazz drumming. Stirling explained that the “voices are a notorious bootleg recording from Glasgow City Council’s emergency help-line for plumbing repairs. As the call progressed the caller became increasing more hysterical and the language increasingly colourful.”
Sounds like an it’s going to be an interesting week.
mso-hansi-theme-font:minor-latin">e.g. Sometime Instant
28 King St
0141 552 4813
Until April 8
Published in The Times, Around the Galleries, 29-03-00