Seascapes, still-lifes and lots of talent … but sadly no surprises

Although this Edinburgh-based exhibiting society has moved away from its founding precepts, it retains part of its original purpose in showing work in water-based media, often on paper.

Most of the work here is still-life, seascape, landscape and portraiture. If that’s your thing, then you are in for a treat because there are many skilled, adept practitioners here with advanced technical, conceptual and compositional skills.

Anthea Gage, the RSW president, is an exceptional talent, and one that has been honed over decades. Seemingly defying the somewhat arcane strictures defining her own organisation, she embeds found materials (paper, textiles) into her layered, complex works. They suggest landscape but offer more, the closer one looks, proving the point (if it ever needed proving) that judging painting by reproduction alone is seldom satisfying, or fair.

Gemma Petrie goes from strength to strength. Her work addresses the mysteries of time and space at a micro and macro level. Curiously, there is a direct link with Susan Macintosh’s cosmic images whose colours — otherworldly, vibrant, subtle, delicate — bleed and fuse osmotically across thick cartridge paper, hung directly on the walls.

Ruth Nicol specialises in creating large, “immersive” landscapes, but Waternish, North from Lusta, Skye is larger than usual. It dominates the room and is one of the few works whose size feels comfortable in these large Victorian gallery spaces, originally designed for “salon” style exhibitions.

The vivid expressionist style of Ian Cook is a welcome departure from the belle peinture-derived aesthetic with which Edinburgh is still associated. The violent, troubling, figurative energy bursts off the walls, looking gloriously out of place. The various award winners here are deserving of their recognition, including the sumptuous, detailed study, Bramble by Fiona Strickland.

As with any mixed show of this nature, there are caveats. Where is the political, social and environmental engagement? Where are the much-needed departures from the usual, time-worn tropes that still define what is essentially a highly conservative outlook?

It’s time for more experimentation and a wider sweep of concerns. The RSW, for all its talents, needs a shake-up. Next year, I’ll hope for a few more surprises.

Until February 5