This winter the City Art Centre presents Through Line, a one floor group show, featuring work by nine artists.
Spanning an array of artistic mediums including ceramics, drawing, jewellery, painting, printmaking, poetry and textiles, the ‘through line’, or common visual thread, of this exhibition is the use and exploration of line in the artists’ diverse practices.
There are hand-drawn and painted lines, lines woven as threads and modelled in wire, and lines that are poetic. They take both geometric and organic forms. Some are bold, expressive lines, which excite and convey movement, others are more delicate and elicit a sense of calm.
There are lines that extend beyond flatness, projecting into our space. There are also implied lines, which we see in our mind’s eye or tell a narrative story. In some artworks line and background are fused, giving significance to the space in between.
A line can separate but also connect; it creates divisions and boundaries, but also generates space. For centuries, the line has been a critical tool for artists, and it remains one of the principal elements of abstraction. Flow I and Flow II by Michael Walton are abstract oil paintings, dealing with pure form.
These works are influenced by the ideas of the Bauhaus, Marcel Duchamp and Jorge Luis Borges. In each composition, green and blue lines have become entangled within a circular shape.
David Connearn’s practice is primarily based in procedural, non-figurative drawing, and deals with themes of experience and temporality. In the two ink studies, Coming Going (I) and Coming Going (II), Connearn has drawn a single line at the top of each page, which has then been retraced repeatedly underneath. Each line sets the new path for the following one, resulting in converging and diverging forms.
Meanwhile, Charles Poulsen’s expressive drawings are made in layers of pencil, wax and gouache on paper, in a square grid-like format. The drawings are abstract, contemplative works without narrative or direct observation, through which he communicates often intuitive ideas about the universe. Poulsen thinks of his drawing as akin to organic geometry.
Encouraged by botanical forms, Lara Scobie’s work also has an organic quality, the lines in her ceramics refuse an exact uniformity. Her pieces relay the spontaneous process of hand-to-paper drawing; responding to how the materials react with the marks. Fascinated by the relationship between form and surface, she allows them both to inform each other as her ceramics develop.
Over her 25-year career, Frances Priest has followed a line through ceramics and drawing, exploring spatial relationships, mark making, languages of ornament, and colour. Priest’s ceramic Cobalt/White Mesh explores her interest in the liminal point between two and three dimensions, while its surface patterns create movement across curved planes of clay.
The physical process of working in metal, such as drawing it by hand into fine lengths of wire, is hugely inspiring for Andrew Lamb. An ingot of gold becomes a thread of wire, a line that offers infinite creative possibilities. Lamb also references visual illusion and optical principles in his jewellery, to echo the perfection found in nature, tempered by the shifting patterns of how we see and perceive the world.
Rhona Taylor’s work is concerned with light and colour; line, pattern and repetition; as well as time, place, mapping and the navigation of space. Her site-specific mixed media installation, Against the Dying of the Light, responds to and physically interacts with the City Art Centre’s gallery space.
Also created specifically for the show, Susan Mowatt’s artwork, Tangle, which draws inspiration from a treasured keepsake and consists of a 33 metre, multicoloured woven line, presented in a tangle on a black wall. Mowatt’s recent works repurpose older ones, with the process of making becoming the most meaningful aspect.
Lastly, Ian Hamilton Finlay’s print suite, The Blue and Brown Poems, focuses on the look and sound of words. The words in the twelve poems have been removed from a standard verse structure and arranged into striking shapes, in which typography and font colours take on equal significance to literal meanings.
Through Line will be accompanied by an illustrated exhibition catalogue with a thoughtful essay by writer Greg Thomas. Alongside the exhibition, the City Art Centre will also offer an extensive events programme for all to enjoy.
City Art Centre Curator, Maeve Toal said: ‘”Through Line’ is the last in a series of four group exhibitions at the City Art Centre spotlighting contemporary art and craft practice in Scotland.
“It showcases artworks from our collection alongside works by artists who are not currently represented. Its focus is the beauty and versatility of the line – from the simplicity of a single stroke to intricate linear patterns – and the impact it can have on our visual experiences.”
Councillor Val Walker, Edinburgh’s Culture and Communities Convener, said: “I am delighted that ‘Through Line’ will be presented at the City Art Centre this winter, showcasing the works of nine exciting artists and an array of artistic mediums including ceramics, drawing, jewellery, painting, printmaking, poetry and textiles.
“There is also a fantastic events programme running alongside the exhibition where some of the artists will take visitors on exclusive tours or give talks on their practice.
“I encourage everyone to take the opportunity to visit our City Art Centre and explore and reflect on the variety of artwork created by the nine impressive artists whose work is being showcased in this exhibition.”
