Evidence of painting’s vitality is plain to see

It has been commonplace over the years to hear various pronouncements about the “death of painting” but on the evidence of this show, it is clear that the art of painting is still very much alive.

The first W Gordon Smith Painting Competition was initiated by the late critic’s widow, Jay, to celebrate both the achievements of her husband and the medium that he did so much to support over several decades. From 500 entries, 50 were anonymously selected by a judging panel comprising the teacher Sandy Moffat, the journalist Susan Mansfield, the former gallery owner Tom Wilson and the painter Margaret Hunter.

The result is a surprisingly cohesive body of work, with a welcome gender balance, judiciously displayed in the tasteful well-lit minimalism of Dovecot, a renovated former public baths. A central focus is Gwen Hardie’s Body 11.10.15, a typically autobiographical depiction in a circular format (oil on tondo) that is also now much associated with the artist. Hardie focuses on skin and bodily surface, while also revealing depth. Although almost wholly abstracted, her works disconcertingly probe flaws and imperfections, physical and psychological.

The body is the subject and object of other works, mainly by female artists. Samantha Wilson’s Mowgli, disconcertingly, does not depict the anodyne Disney image we might expect. Here is a fragile and tortured soul, full of pain, rendered (in charcoal and powder paint) with a sensitivity that is heartfelt and genuine. Audrey Grant’s oil painting, showing a seated female figure against a disturbing yellow ground, takes its title from RM Rilke’s Seventh Duino Elegy, Nowhere, Beloved Will World Be But Within Us (Nirgends, Geliebte, wird Welt sein, als innen). Grant’s imagery somehow conveys the sense of Rilke’s words while avoiding literalism.

A number of other themes and tropes make themselves readily apparent here. One is landscape, perhaps unsurprising in a Scottish context, but Calum McClure’s Across the Pond II imbues a fine tradition with a contemporary edginess. Matthew Draper’s Fleeting, A Hike Through Rannoch Moor (Part 3) (not painting, but pastel on paper) is more traditional in that it represents the muted but complex colours and moods of that most evocative of Scottish places. Karen Warner’s Swirling Winds Lammermuir Hills conveys a keen sense of place with vibrant, energetic paint.

There are a number of symbolic works here, such as Carolynda Macdonald’s Under the Wings of a Dream, which takes us to the world of the 18th century dream allegory. It shows a pair of finches removing jewels from a delicate Chinese porcelain vase, set against an idealised landscape. The winning entry, The Admissions Gate, by Robbie Bushe is a keen allegorical satire on the processes surrounding artistic acceptance and recognition.

Taken together, these works augur well for the continuing strength of a medium that shows no sign of declining popularity or ingenuity.

(Until January 30)