Originally from New Jersey, US, artist, poet and performer, JL Williams studied for an MLitt in Creative Writing from Glasgow University. Throughout her career Williams has worked across a vast array of cultural projects, from the writing of an Opera to creating workshops and performing at live poetry events.
Collaboration and performance play an important role in the development of both poetry and language within her practice. Williams has collaborated with numerous artists, poets and musicians, Iain Morris, James Iremonger, Anna Chapman and Alastair Cook to name a few. One of Williams’ most prominent collaborations throughout her career has been with artist and friend, Catherine Street, performing and writing together throughout several exhibitions and sound-performances.
This collaboration is ever-present within Between poles and tides. Whilst walking through the exhibition, visitors can listen to an emotive audio recording of Williams in an abstract and imagined dialogue with Street. This dialogue became a reality at the end of last month when the two women performed the piece in the gallery space, creating a live, poetic environment.
Lauren Hawkins, Talbot Rice Gallery Intern
The late Ian Hamilton Finlay (1925 -2006) forged a career as one of Scotland’s most successful and distinguished artists. Finlay was born and raised in both Glasgow and the Orkney Islands, but later moved to practice in Edinburgh where he became a founding member of the Concrete Poetry movement.
Katie Paterson is a Glasgow-born visual artist who graduated from ECA in 2004, before completing her MFA at the Slade School of Art three years later.
Now living and working in Berlin, Paterson’s practice is concerned with ecology, technology and astronomy. Throughout her career she has presented a body of work which has drifted from the physical landscapes of Earth, to the incalculability of the universe, often investigating the mysteries of our galaxy through a framework of scientific and conceptual projects. She uses the tangible object to capture the intangible nature of the cosmos and beyond.
Luc Tuymans is a Belgian artist who is widely accredited with the amelioration of painting as an artistic medium.
Contextually; following on from the Conceptual Art movement of the 1960’s and 70’s, Tuymans can be placed within a wider shift happening in the 80’s, where due to a revival of the art market and art dealers, painting saw its own renascence.
Living through the newly image saturated world of the late 20th century, Tuymans’ work aims to create meditations of these images of mass media through paints and prints. While his paintings appropriate often banal and ordinary found images and photographs, the summation of such images come to embody and represent major historic political and social events, such as the holocaust and the fall of the Berlin wall.
Additionally, Tuymans’ work can take on philosophical narratives; the impermeable layers created through his paintings hint at existentialism, distraction and passion.
Tuymans’ work can be both viewed and bought throughout the exhibition Between poles and tides. His tryptic of prints ‘The Arena’ are hung on the upper level of Gallery One, and also available as limited editions, to purchase from the gallery.
Lauren Hawkins, Talbot Rice Gallery Intern.
Graduating from ECA in 2016, Lafarge has since established herself within Edinburgh as an artist exploring the intricacies of language and spoken word.
In recent months her selected texts have been published on literary platforms such as Poetry London, The Poetry Review and Annuale 2016. She also performs her poetic musings at live events around the city.
The unquantifiable nature of what is left behind after we have reduced, removed and sculpted an object is a primary fascination of Liverpool born artist, Jonathan Owen. What happens to an objects identity when it has been altered? How do we know when an artwork is finished and how do we recognise permanence are all questions considered within his practice.
Owen takes ready-made objects, most notably, sculptural busts and film stills and shapes, crafts and re-thinks their formal qualities, creating artworks which are physically less, but conceptually more.
The classic and antiquated qualities of busts and sculptures have centred in a vast series of earlier works by Owen. He begins with a found sculpture, originally crafted in a traditional and regimented way. From here the original form of the artworks are altered and re-shaped using rustic processes; such as the use of a knife or bone. Owen carves chain links through the hearts of the sculptures to create new and contemporary dialogues for artworks previously considered ‘complete’.
For Between poles and tides, Owen’s Eraser Drawings can be viewed on the lower level of Gallery One. Similar to his sculptural works, Eraser Drawings are representative of a mysterious and enigmatic practice, wherein Owen removes layers of ink from images, displaying and uncovering what was or could have been.
Image Chris Park
Lauren Hawkins, Talbot Rice Gallery intern.
Fabienne Hess is a Swiss born artist now living and practicing in London. The starting point for her most recent work begins with the found, discarded and consciously removed. Her process recognises and manipulates our daily interactions with spam emails, junk folders and the digital content of distinguished corporations. Through image rendering and fragmentation, Hess carves fresh and raw dialogues from the culture of waste and instant gratification within society.
The challenging relationship between art and science is ubiquitous within the practice of American born artist, Ilana Halperin. For years, Halperin has explored issues from ecology through to biology with bold, ambitious projects, practicing in significant geological sites from Japan to North America.
Through extensive and far-reaching voyages, Halperin uses these scientific concepts to connect with our everyday lived experience, uncovering and embracing elements of the ethereal and sublime:
“My work explores the relationship between geological phenomena and daily life. Whether boiling milk in a 100 degree Celsius sulphur spring in the crater of an active volcano or celebrating my birthday with a landmass of the same age, the geologic history and environmental situation specific to the locale directly informs the direction each piece takes”
Graduating from Edinburgh College of Art in 2013, Isobel Turley’s primary focus within her practice sits in the complex and powerful relationships formed between contemporary art and animal conservation.
Zane (2013), produced for Turley’s Fine Art degree show, is a 2 second close recording of the endangered Amur Leopard, now so rarely found in its wild, natural habitat. Played on a continual loop, the work presents an inexhaustible and intense gaze of an animal, seldom captured on film.
For Between poles and tides, the video has been screened on a wall, high above the gallery floor, dominating the impenetrable, vacant space and linking the two floors with its all encompassing gaze and accompanying audio. Drawing on Turley’s art historical curiosities; far eastern churches and palaces, she recorded and preserved the everyday sounds of the historical and antiquated, St Giles Cathedral to accompany the video clip, expanding the dramatic power of Zane (2013).
Turley’s visual artworks force viewers to engage with rare and often endangered species, forming emotive and evocative relationships between the animal and the self.
Lauren Hawkins, Talbot Rice Gallery Intern
David Batchelor has worked tirelessly on the development, evolution and promotion of colour theory within contemporary art. A distinguished writer and lecturer at the Royal College of Art, London, his practice is central in re-thinking and appropriating the endless artificial shades and hues found within the everyday and urban environment. Batchelor’s preoccupation with colour lies in the ways in which the habitual elements of the city; neon signs, electrical lighting, plastics and throwaway items, condition our emotional response to colour.
Batchelor’s extensive Found Monochrome series perfectly echoes this. Since he began his practice in 1992, Batchelor has been photographing found, blank, white rectangles and squares, highlighting the presence of coloured abstraction within the city. Each monochrome was discovered by chance when walking the streets of major international cities, from London to Mexico City.