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Handwritten Note (‘Thanks Graham’) [Passing Glows, Warimono Gallery]
No full textPassing Glows, Warimono Gallery
Handwritten Note (‘Thanks Graham’), oil on birch panel, 60 x 81 x 5 cm
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Gallery Text
Passing Glows
Celebrating the transient moments that illuminate our lives, Passing Glows features a diverse range of works by thirty artists exploring the fleeting and the ephemeral in Warimono’s inaugural exhibition. Each piece reflects a unique interpretation of brief, illuminating experiences or temporary yet impactful moments that shape our existence.
The works featured in the exhibition capture those flashes of creativity and inspiration that define the artistic journey, whether it’s the spark of an idea, a moment of clarity, or an experience that lingers beyond its brief occurrence. Passing Glows offers a glimpse into how artists translate these transient moments into lasting impressions, inviting viewers to reflect on the fleeting yet meaningful moments in their own lives.
The exhibition runs September 1 to October 26, 2024.
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In mid 2024, the curatorial team at Warimono contacted me to ask if they could include a piece of work which they had seen previously in their inaugural exhibition. After finding out some further information about this new online exhibition platform, I agreed, and Passing Glows was an exhibition of contemporary painters from across the world who embodied the idea of thinking-through-painting. The result was an interesting grouping of painters, showcased on the Warimono site for just under 2 months.
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Warimono is an artist-run curatorial project and online platform dedicated to supporting and elevating the artistic journey. We showcase the work of contemporary artists through international open calls that celebrate moments of creativity from artists working across various mediums.
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Curatorial Vision
'Our platform is designed to capture and highlight the creative impulses that define an artist's journey. "Warimono," inspired by a type of Japanese firework that splits into smaller bursts, symbolizes fleeting beauty and impactful moments of creativity. Through this symbolism, we aim to create a dynamic environment where artists can showcase their work, share insights into their creative process, and connect with a broader audience.
Two Glasgow Polymaths | Alasdair Gray and John Byrne, Panel Discussion: Image Making with the Masters
Get PDFPanel discussion on the work of Alasdair Gray and John Byrne
Please join us for an afternoon of conversation with some of Byrne & Gray’s friends and collaborators.
Our speakers: Nichol Wheatley: artist and long-time collaborator on Gray’s murals. David Eustace: friend of John Byrne and professional photographer who had sittings with both artists. Edwin Pickstone: lecturer at the Glasgow
School of Art and co-designer of Gray’s famous typeface. Also featuring a technician from Glasgow Print Studios who assisted both artists. Discussion chaired by Lyon & Turnbull’s Head of Contemporary Art, Charlotte Riordan.
This event was hosted by auction house Lyon & Turnbull as part of their exhibition Two Glasgow Polymaths | Alasdair Gray and John Byrne.
Exhibition text:
Alasdair Gray and John Byrne are inarguably two of the most significant figures in 20th century Scottish culture, their work continuing to inspire and stimulate artists practising today.
With the kind support of our clients, Lyon & Turnbull presented a showcase of works by Gray & Byrne from across eras and mediums, including early and never before exhibited pieces.
Though Gray and Byrne's artistic identities were completely unique and distinct, they shared much in common. Both were extraordinarily talented, with work spanning multiple disciplines. They are renowned and beloved as artists, playwrights and authors. Interestingly and importantly, they were both born and raised in the environs of Glasgow (Byrne in Paisley and Gray in Riddrie, north-east of the city) and studied at the Glasgow School of Art. This geography was to become an intrinsic part of both of their artistic outputs.
They had both been brought to the fore of our consciousness in 2024, with John Byrne’s sad recent passing at the end of 2023, and with the worldwide cinematic release of the film adaptation of Alasdair Gray’s novel ‘Poor Things’.
We were delighted to have been able to celebrate the work of these two fascinating and important artists in July 2024 at our Glasgow gallery
Contributions to "Under the Changing Skies: The Best of the Guardian's Country Diary, 2018-2024"
No full textI am a regular contributor to The Guardian Country Diary, and several of my diaries are found in this best of anthology:
- Gently, quietly these cows are doing vital work in the forest (pp7-8)
- Tuning into the summer soundtracks (pp144-145)
- All around the Bone Caves, the stillness is spectacular (pp193-194)
- A ghostly, freezing day in the Cairngorms (pp 290-91)
"For over a century, The Guardian's Country Diary has published the nation's most celebrated writers of natural history as they capture the essence of the British countryside.
From Yorkshire to Belfast, Orkney to Cumbria, and Gwynedd to the Scottish Highlands, exquisitely written and softly observed snapshots emerge - of fishes lurking in dusky pools, of age-old trees beneath deep blue skies, of lives being lived alongside the ebbs and flows of the natural world.
Bringing together the finest contributions to the column from recent years, Under the Changing Skies is an essential companion for all those with a deep love for the British countryside, charting its subtle changes over the course of the seasons.
SMITH/STEWART PRESENT TENSE
Get PDFSMITH/STEWART
PRESENT TENSE
21 September - 19 October 2024
Reid Gallery and Reid Ground Floor Corridor
"PRESENT TENSE is a new exhibition by artists and long-time collaborators SMITH/STEWART. Since the mid 1990’s Stephanie Smith and Eddie Stewart have been making work together as SMITH/STEWART. They work and live in Glasgow and both teach in The School of Fine Art.
Their work explores interdependence and the relationships we have with one another. They make sculptural installations, with a primary emphasis on the body and the implication of the viewer. Their practice develops out of collaborative dialogue and material investigation, to construct situations in which the viewer becomes central as an active constituent. Pared back to what’s essential, they are interested in the co-existence of connection and separation, power and powerlessness. Of things shifting in and out of sync with one another, coming together and moving apart.
They are showing a new body of work in the Reid Gallery and alongside, in the Reid corridor, they present material in relation to their process of making, never usually shown.
SMITH/STEWART’s work has been exhibited nationally and internationally and they have participated in key survey shows on both video and language. They have had solo exhibitions in NGBK Berlin, Kunstmuseum Luzern, Portikus Frankfurt am Main, Chisenhale Gallery London, Inverleith House Edinburgh. Their work is in public collections including Arts Council England, The Scottish National Gallery of Modern Art and Tate."
(Gallery Handout)
Accompanying Events:
- Public gallery tour, led by the artists
- Video Screening, introduced by Laura Haynes (GSA) with audience Q+A
The research and development of the body of new sculptural installation work shown was, in part, supported by a summer residency period in the Reid Gallery. This was also informed by two critical conversations with researchers Ross Birrell (GSA Research) & Viviana Checchia (VOID, Derry).
We worked closely with Jenny Brownrigg & John Farrell (GSA Exhibitions). We collaborated with Anna Gordon (Head of S&J, GSA) to make a double silver ring '&'. This was bespoke to us, made for holding hands and worn by the artists for the duration of the exhibition opening, as an unannounced performance. Fabrication of the installation works was supported by GSA TSD, particularly Giulia Lazzaro & Nick Carlin and external sculptural fabricators, Sculpture & Design (Glasgow) Ltd.
Works shown:
Three new sculptural installations, for the three adjoining spaces of the Reid Gallery and unannounced public performance (Reid Gallery)
- 'Present tense' (2024) Two work tables, two sledgehammer handles and motors
- 'The weight of the world' (2024) Steel and fabric
- 'Approach aslant' (2024) Steel beam and motor
Sculptural work and printed material (6 x vitrines, Reid Ground Floor Corridor):
- '&' (2024)
Double silver ring for holding hands, made for SMITH/STEWART by Anna Gordon
+ Wire and copper prototypes
- Cast aluminium sledgehammer handles and painted bronze ‘skulls’
- Inked sledgehammer handle cross section with woodcut on paper
- Structure maquette, steel and magnets
- Aluminium template, plywood sections Woodcut on paper
- 'Cleave' (2024) Divided SMITH/STEWART solo publication
Never Forever, How Buildings Change and How They Change Us: Lessons from Mackintosh
No full textThe lecture, an invited keynote, provides an insight into the challenges facing revered and respected buildings, due to time, physics and fundamental design parameters.
The lecture provides an introduction to two major works by Charles Rennie Mackintosh, and documents the contributions of his wider community of practice on his thinking, the work itself and the place of collaboration and co-creation within his work, as the context to his production, and apparently radical attitudes and behaviours.
Beyond the generation of the work, the lecture traces the full life of these building, both anticipated and as " lived" and explored the dynamic forces in play beyond the realisation of the original work. The title also poses the discussion of the "death " of any built form, through physical factors, constructional conflicts and natural and man made events.
The lecture builds on a continuous exploration of the creative constellation established and supported at the Glasgow School of Art by Fra Newberry, as a relevant contemporary model of creative practice
Beyond the Forbidden Gate
No full textBeyond the Forbidden Gate is a body of work by Joey Simons made in response to the latest phase of urban regeneration in North Glasgow. The Mitchell Library’s Old Glasgow Room was a central gathering point for this project, with the space used by Joey and his collaborators to present archival materials and artworks that investigate the class forces shaping competing visions for North Glasgow. A series of talks, workshops, poetry readings and text-based works will also unfold across public libraries in Springburn, Woodside and Possilpark. These civic spaces, forever under threat, remain a vital space for culture to persist and flower amidst the developers’ plans.
Produced by Joey Simons for Glasgow Sculpture Studios in collaboration with designer Andrew Brash, the book series 'Beyond the Forbidden Gate' presents a suite of publications that tell previously unpublished and newly commissioned working-class histories, stories, and scripts that centre on North Glasgow.
Drawing from personal effects, materials, and research donated by
members of the public to Glasgow Libraries, the publications underscore the vitality of public libraries, forever under threat, as the place where personal and public, informal and formal, anecdotal and historical archives meet.
Countering the narrative of North Glasgow as ‘a blank page’, Beyond the Forbidden Gate favours dialogue over monologue, and assembles a chorus of voices, perspectives, and artworks that assert visions of North Glasgow and the communities who live there that are absent from development frameworks — a counter plan.
The books explore aesthetics of luxury, science fiction, zines, affordability and radical Glasgow histories through a hybridising collection of relevant icons on a die cut golden cover and a more lo-fi style for the interiors.
The 3 books that were realised are
'Fever' – a play written and directed by Gemma Muir, Senior Community Coordinator at SISCO. a new collection of writing that brings together the script for Fever with prose and poetry written by members of SISCO’s creative writing group facilitated by Joey over the course of his In-Residence project. Developed through a series of prompts and writing exercises drawing from the legacy of The Special Unit at HMP Barlinnie, alternative histories of the city, and the role of community and solidarity, these new works respond to and expand upon the central themes put forward in Fever.
'The Spy Who Went Back to Bricklaying' – a new publication which brings together writing by Ned Donaldson and excerpts from a previously unpublished interview between Ned and writer, activist, and 1994 Booker Prize winner James Kelman. A selection of original artefacts relating to Ned’s work and life from Dr. Anni’s Donaldson personal archive can also be found in the vitrines.
'A History of Possilpark' – a previously unpublished work written by Willy in 1993 and discovered by Joey in the local history box at Possilpark Library in the course of researching this project
Concrete Dreams: The Rise and Fall of Cumbernauld Town Centre
No full textOn the eve of its planned demolition three practitioners explore the complex cultural, social and visual legacy of the Megastructure that sits at the heart of the iconic Scottish New Town. The culmination of years of research, sketching and engagement, the volume brings together multiple voices, viewpoints and disciplines to look at the town at a crucial point of departure. Produced in collaboration with North Lanarkshire Council and the New Towns Architectural History Project
DSB Design: Jens Nielsen og designprogrammet 1972-1992
No full textJens Nielsen was among the most influential and characterful figures in Danish twentieth century design and architecture. His twenty-year career as Design Director at DSB between 1972 and 1992 enabled him to spread his ideas across the entire nation. His interests in art, music and culture in general led him to commission works from leading artists and sculptures to adorns stations and tracksides, examples of which were collected by the Museum of Modern Art in New York.
Today, thousands of travellers every day step aboard IC3 trains, the design of which Nielsen oversaw, involving talented engineers, designers such as Nanna Ditzel and artists such as Per Arnoldi. Entirely created and built in Denmark, the popular trains have been a great success. But they were only one of the many aspects of architecture and design for which Nielsen was responsible, ranging from big stations to small details like uniforms, bins and benches.
‘DSB Design: Jens Nielsen og designprogrammet 1972-1992’ explores and analyses Jens Nielsen’s life and career, first at the dansk designråd and then at DSB, are explored. His beliefs that travel is a cultural activity, his desire to create communal spaces of high quality for citizens to gather and meet when travelling and his idea that the public realm should include culturally inclusive, uplifting and educative content remain very relevant today
Design: Superilla, a testbed and an opportunity
No full textDesign has commonly developed a minor role in the diverse and complex processes that constitute a city. The intangible dimension of the city has been led by social sciences and economy. Its built dimension has been entrusted to urban planning and architecture in the definition of the fundamental threads. The development of urban planning since 15th century highlighted the key role of the urban plot in shaping the city. This plot was defined by a precise balance between the built mass -expressed by buildings- and the controlled void -that of streets, squares and parks. In this context of primacy of architecture, design played a minor role, completely subordinate to the main threads previously defined by urban planners and architects. Urban design used to appear when the key features of the city were defined and even built. Therefore, design was completely conditioned by pre-existent elements that couldn’t be questioned or transformed
all these dreamings now hidden
No full textThe poem is part a large body of work that is called ‘This City’. Considering methodologies and responses put together by diaspora, the poems attempt to consider the history of Athens, Greece alongside biographies of people and places that they encounter and determine. As the historical accounts mainly deal with large populations, the poems that form ‘This City’ attempt to delineate from group histories and instead attempt to sketch a portrait of activity that exists in the margins. Situated around the historical centre, where I was born and raised before leaving home, the poems trace the trajectories of marginalised communities that are erased from history. ‘This City’ is made of poems that are both in and outside of the locality, in an attempt to discuss both personal and financial circumstances that lead to an unavoidable diaspora, and to attain a criticality of reading. Of course, as the encounters are all real, this may not be always possible, nevertheless it allows for a literal and metaphorical) return to take place. Currently the complete collection of poems is 79 in number and is made up of three distinct parts, each interrelated, but separate. Common themes carry over the three parts, and the separation of groups of poems allows a poetic sequence to exist that mirrors life in sections: incomplete, in progress and fragmented. The poems are fragments of sorts, textual variables in a constant state of variation much like citations, or the ruins that surround Athens and the life that unfolds in its centre. The three sections that make up the poetry collection is roughly divided by decades and follows historical and socio-economic circumstances that reveal a place and lives that are caught between a solidified past and an uncertain future.
'Seedlings' is a magazine that straddles both digital and analogue printing methods and it currently occupies both words. The primary format of the publication is printed at London Centre of Book Arts on 150gsm recycled paper using traditional letterpress, risograph and etching processes alongside digital prints for the highest quality art prints. The digital edition is printed at London Centre of Book Arts on recycled paper using scans of the traditional letterpress, risograph and etching processes alongside digital prints