New Exhibition entitled Jock McFadyen – Fragments of Scotland from 25th November – 3rd January
Image Details: Inganess Bay 5, oil on mdf, 14 ½ x 20
Commanding the attention of the audience and challenging notions of genre and common conceptions of social practice, McFadyen’s work makes anything but a diminutive statement. With eyesores depicted as though they were architectural gems and the marginalized and disregarded immortalized on canvas, he inescapably represents society’s eschewed. This Scottish artist deals in bringing the background to the fore; in celebrating elements of urban and now rural life that we tend not to take into account.
Educated at Chelsea School of Art, Jock McFadyen has had over 40 solo exhibitions and his work is held in almost as many public collections, both in Britain and abroad. Included in these are the collections of the Victoria & Albert Museum, the Scottish Arts Council, the Contemporary Art Society and the British Museum.
McFadyen’s searing visions of the physical and social decay of the urban are in this exhibition replaced by hauntingly sparse visions of rural isolation and occasionally-disquieting calm. Heavy skies, brooding mountains and isolation characterize these paintings which retain McFadyen’s characteristic sense of ambiguity.
Caroline McNairn – One Foot in Eden
25th November – 3rd January
Image Details: Untitled 5, mixed media, 16 x 22 ½
Born in Selkirk in 1955, Caroline McNairn studied Fine Art at Edinburgh University from 1972-8. One of a group of artists including Fiona Carlisle, June Redfern and Ian Hughes who became closely associated with 369, the innovative Edinburgh gallery that opened in 1978, McNairn also forms part of an on-going tradition of Scottish colourism, stretching back to the likes of John Duncan Fergusson and Francis Cadell. This small exhibition of her last paintings retains the language of assured design and colour strength characteristic of her work in the 1970s and 80s. The paintings are visually complex yet not busy, and, amidst their sense of strident handling and colour, are lushly evocative of the forests and gardens implied by their elusive representation elements.
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