Walking like a Tortoise, a mixed media, walking art exhibition
Edinburgh Central Library, 7 – 9 George IV Bridge, EH1 1EG. Foyer and Display Case on Main Stairs
1 August – 30 September (10am – 8pm Monday to Wednesday; 10am – 5pm Thursday to Saturday)
‘Walking like a Tortoise’ is a range of art work based on a series of walks around Granton on the northern edge of Scotland’s capital city. Using maps of the area from 1870 to the present day, Tamsin Grainger skirted the urban and coastal landscapes of Granton, looking into hidden corners, seeing from unlikely angles and meeting those who live and work there.
Through photography, words, video, textiles and found materials, she asks how the act of slow walking can develop a sense of belonging somewhere, and how mindful noticing of the area on foot, promotes appreciation of and connection to what is home.
Tamsin’s been walking around Granton for 14 years now, alone and with other members of the community, and has become interested in the alterations that people and the climate have wrought.
Although places transform all the time, the built-up environment and natural spaces of Granton have recently been changing at an exceptionally rapid pace and still are: the harbour is now a no-go area; streets and stations have been given new names and functions; and views have disappeared.
Slowly wandering the boundary and making artwork has stimulated a deeper understanding of local history and heritage, but how much of this will soon have vanished?
Is Granton disappearing and being replaced by the Edinburgh Waterfront?
By visiting the exhibition, you are invited to consider: ‘What are the invisible boundaries which define us?’ ‘What happens if the exact edges of our living space change? Is it important to you that things stay the same or do you welcome transformation?’ ‘Do you feel part of the decision-making processes which precipitate such changes?’ and, ‘Is there a link between a sense of who you are and feeling that you belong somewhere?’
Tamsin Grainger is a walking artist who has lived in Granton for 15 years and has extensive experience in the Community Arts in Edinburgh. She was Dance Artist in Residence for the City of Edinburgh, and is currently the Granton Waterfront Heritage Programme Development Worker. This exhibition was first shown at the Granton:hub in 2023.
Walking like a Tortoise, a mixed media, walking art exhibition
Edinburgh Central Library, 7 – 9 George IV Bridge, EH1 1EG. Foyer and Display Case on Main Stairs
1 August – 30 September
(10am – 8pm Monday to Wednesday; 10am – 5pm Thursday to Saturday)
‘Walking like a Tortoise’ is a range of art work based on a series of walks around Granton on the northern edge of Scotland’s capital city.
Using maps of the area from 1870 to the present day, Tamsin Grainger skirted the urban and coastal landscapes of Granton, looking into hidden corners, seeing from unlikely angles and meeting those who live and work there.
Through photography, words, video, textiles and found materials, she asks how the act of slow walking can develop a sense of belonging somewhere, and how mindful noticing of the area on foot, promotes appreciation of and connection to what is home.
Tamsin’s been walking around Granton for 14 years now, alone and with other members of the community, and has become interested in the alterations that people and the climate have wrought.
Although places transform all the time, the built-up environment and natural spaces of Granton have recently been changing at an exceptionally rapid pace and still are: the harbour is now a no-go area; streets and stations have been given new names and functions; and views have disappeared.
Slowly wandering the boundary and making artwork has stimulated a deeper understanding of local history and heritage, but how much of this will soon have vanished? Is Granton disappearing and being replaced by the Edinburgh Waterfront?
By visiting the exhibition, you are invited to consider: ‘What are the invisible boundaries which define us?’ ‘What happens if the exact edges of our living space change? Is it important to you that things stay the same or do you welcome transformation?’ ‘Do you feel part of the decision-making processes which precipitate such changes?’ and, ‘Is there a link between a sense of who you are and feeling that you belong somewhere?’
Tamsin Grainger is a walking artist who has lived in Granton for 15 years and has extensive experience in the Community Arts in Edinburgh.
She was Dance Artist in Residence for the City of Edinburgh, and is currently the Granton Waterfront Heritage Programme Development Worker.
This exhibition was first shown at the Granton:hub in 2023.
The Royal Scots Exhibition at Tynecastle Park 5 – 10 July
Exhibition focusing on the importance of teamworking and sport in the military as part of the Heart of Midlothian FC’s 150th Celebrations
The Royal Scots Regimental Museum is reaching out from Edinburgh Castle to deliver an exhibition, with particular focus on the importance of teamworking and sport in the military, hosted by Heart of Midlothian FC in the European Suite at Tynecastle Park as part of the Club’s 150th Anniversary Celebrations, from Friday 05 to Wednesday 10 July 2024 (10:00 to 16:30 daily – free admission).
The Museum’s Outreach Exhibition has been curated to engage and connect with people of all ages from throughout Edinburgh and the Lothians, a major part of the Regiment’s former recruiting area, to promote the Regiment’s enduring legacy and commemorate those who never came back, giving their lives for peace.
The exhibition provides a particularly poignant reminder of the supreme sacrifice made by the 1914 Hearts team with their footballers being the first in the UK to enlist to fight for their country at the outbreak of World War 1. Many of them volunteered to join the 16th Battalion of The Royal Scots, famously known as McCrae’s Battalion.
The exhibition also covers significant events in Regimental history such as the Gretna rail disaster (1915), the Gallipoli campaign (1915), the Battle of the Somme (where 454 Royal Scots were killed on the 1st of July 1916 alone), the Battle of Kohima (part of the Burma campaign in 1944) and the First Gulf War (1991).
Through the telling of Soldiers’ Stories from 1914 onwards visitors will learn of Royal Scots’ experiences in conflict, fighting for peace. Inspired by Hearts’ continuing dedication never to forget those of their Club who were killed or wounded, the importance of teamwork and sport in the military will be explained. Some of the items on display have never been seen publicly before.
A Research Area has been included in the exhibition to enable families to find out more about their relatives who served with The Royal Scots.
The exhibition hosts and guides are volunteers who served in The Royal Scots and who want to give something back through comradeship, promoting the unique heritage of the Regiment. They are fondly named Pontius Pilate’s Bodyguard.
Lianne Parry, Hearts Head of Heritage, said: “We very much look forward to hosting The Royal Scots Museum. It is wholly appropriate in our Sesquicentennial Year that we should highlight one of the most historically important episodes in Hearts’ long and rich history.
“We hope that visitors will take advantage of their visit to the stadium, to call in at the Club’s own Museum which will be open throughout.”
Colonel Martin Gibson, representing the Royal Scots Museum’s Outreach Team, commented: “We are determined to reach out and engage with the people of Edinburgh, to tell the story of The Royal Scots from 1914 onwards, and to highlight the very close enduring connection between the Regiment and Hearts FC which began at outbreak of WW1.
“So many men from our capital City served in our Regiment which saw 373 years of unbroken service; it is so important that their achievements and sacrifices are never forgotten.”
Susie Hamilton, Scottish Veterans Commissioner, opened the exhibition yesterday and guests at the launch included Hearts legend John Robertson with club representatives Ann Park, (Director, Community & Partnerships), Lianne Parry (Head of Heritage), Julia McKenzie, (Museums & Collections Specialist) and Mia Weintraub (International Intern).
The Royal Scots were representatived by Colonel Martin Gibson of the Royal Scots Museum’s Outreach Team and former soldiers Apolosi Vanowale (former Fijian rugby international), Andy Stewart (Scotland Water Polo), Andy Gilmour and Tony Reid (Scotland boxer and referee).
The exhibition runs from Friday 5th – Wednesday 10th July 2024 from 10:00 – 16:30 daily in the European Suite at Tynecastle Park. Free admission.
This will be the 39th annual showcase for the renowned institution with expectations high for an extraordinary display of fine furniture crafted by this year’s graduating cohort of talented makers.
From Thursday 13 June to Saturday 15 June 2024, visitors will have the exclusive opportunity to witness an array of exceptional pieces meticulously crafted by those on the intensive 30-Week Professional Course.
Known for its international reputation for kickstarting the careers of skilled woodworkers, the Chippendale School’s Professional Course equips aspiring furniture makers with the essential skills and knowledge needed to thrive in the industry, covering everything from design techniques to marketing strategies.
The 2023/24 course cohort boasts 30 exceptionally talented students hailing from all over the world, from the Dominican Republic to Germany, Holland, France, Canada and the USA.
Among the spotlighted makers is Kevin Tronel from France whose matching pair of mid-century easy chairs and vinyl record cabinet, both made from Oak, are a perfect example of the joy in putting a contemporary twist on a traditional style.
Also gracing the exhibition is Maria Hensley from the UK, presenting her hallway bench in Oak and Danish woven cord. Attendees can also marvel at the striking fluted column cabinet in Sycamore made by Chlomo Hutcheson from Edinburgh.
Tom Fraser, Principal, commented: “Our annual Graduate Exhibition is a testament to the dedication and talent of our Professional Course students.
“Year after year, we are inspired by the creativity and ingenuity displayed in their final designs.
“This event offers a unique opportunity for visitors to witness the finest emerging global furniture design talent and even take home a piece that captivates them.”
Pizza and coffee on the day will be provided by local Edinburgh and North Berwick businesses Pizza Geeks and Steampunk Coffee. Admission to the exhibition is free, with advance booking of time slots required.
Be inspired by stories of collaboration, creativity and rebellion in Women in Revolt! Art and Activism in the UK 1970-1990 at Modern Two in Edinburgh.
The first of its kind, Women in Revolt! is a major survey of feminist art, celebrating the women whose radical ideas and rebellious methods changed the face of British culture. Come and discover the powerful and often provocative work of over 100 women artists and collectives, forged against the backdrop of seismic social and economic change over two decades. The exhibition will open to the public on Saturday 25 May and tickets are on sale now from the National Galleries of Scotland website.
Curated by Linsey Young, Curator of British Contemporary Art at Tate Britain, in collaboration with the National Galleries of Scotland and The Whitworth, The University of Manchester, Women in Revolt! will take over the entire Modern Two gallery in Edinburgh until 26 January 2025. Following its debut at Tate Britain in November 2023, the exhibition will bring to Edinburgh a select range of works from the London show, drawing from public and private collections across the country in what will be the only chance to see this landmark exhibition in Scotland.
Women in Revolt! spans two decades of art and activism, charting a range of themes and social issues that influenced and impacted on women artists.
Topics such as the Women’s Liberation Movement, maternal and domestic experiences, Punk and independent music, Greenham Common and the peace movement, the visibility of Black and South Asian women artists, and Section 28 and the AIDS epidemic will be explored in six thematic galleries platforming the creative contributions, ideas and activism of a diverse set of communities living and working in the UK throughout this period.
Women in Revolt! will highlight the ways in which women challenged societal norms through their creativity, both collectively and in isolation, using their lived experiences to create art and fight injustice.
Paintings, drawings, sculptures, textiles, films, photography, and documentation of performances will be shown alongside a range of archival materials, with many artworks on display for the first time since the 1970s.
Work by well-known artists including Sonia Boyce, Helen Chadwick and Linder will be displayed side by side with an array of artists who, despite their long careers, have been left out of the mainstream art historical narratives.
Featuring artists from across the UK, the powerful work and pioneering techniques of Scottish-based women artists will also be showcased. Visitors will encounter works such as Cool Bitch and Hot Dog (1978) by Edinburgh-based artist and weaverElizabeth Radcliffe.
Her sculptural three-dimensional tapestry reflectsthe artist’s desire to be a modern woman, defying the passive stereotypes of mother, caregiver, cleaner or sexual object. Glasgow-born artist Rita McGurn utilised a range of found and domestic materials to create work, using techniques such as crochet, a long-undervalued artistic medium due to its domestic associations. Several of McGurn’s characterful life-sized soft sculptures will go on display at Modern Two.
Select works from Scotland’s national collection will also go on display, including two important new acquisitions by Penny Slinger: Wedding Cake – Open Secret (1973) and Bride and Groom – Ceremonial Cutting of the Cake (1973).
Part of her Bride’s Cake series (1973), these works document a performance in which Slinger wears a handmade wedding cake costume. The artist describes the series as ‘both a parody of a wedding ritual, and recreation from a woman’s point of view’.
Further works to be seen from the Scotland’s national collection include Urania from the series Zabat (1989) by the Scottish-Ghanaian artist and writer Maud Sulter.
A significant figure in the Black Arts Movement, Sulter used her practice to challenge white supremacy and reconsider history through a personal lens as a Black woman.
The monumental Warrior Woman V: The Artist (1986), by Glasgow-based Sam Ainsley will be shown in Scotland for the first time in nearly four decades as part of this tour. Standing at over 11 feet tall and brimming with the spirit of protest, Ainsley’s work embodies the artist’s expression of feminist concerns, challenging the patriarchy and asserting female power.
The dramatic evolution of women’s relationships with work, domesticity and motherhood created an extensive source of inspiration for artists throughout this period. Frustrations fuelled by the expectations of domestic labour are palpable in a range of impactful works on display by artists such as Bobby Baker, Alexis Hunter and the See Red Women’s Workshop whose bold poster works challenge sexist stereotypes and directly reflect the demands and concerns of the Women’s Liberation Movement.
The social and political implications of women raising a family also comes into play in works such as The Hackney Flashers’ Who’s Holding the Baby (1978). The installation critiques the lack of government supported childcare and sheds light on the impossible position of being both a mother and a worker in 1970s Britain.
The riotous and expressive era of Punk and Post-Punk movements will be examined through collage, painting, film and photography by artists and musicians including Marianne Elliott-Said (A.K.A Poly Styrene), Caroline Coon, Linder and The Neo Naturists, whose ritualistic performance art of the 1980s used bold body paint to challenge the objectification of the female form.
Gina Birch, a founding member of the experimental Punk band The Raincoats, also presents her 1977 film 3 Minute Scream, where the artist can be heard screaming for the duration of a Super 8 cartridge. The film communicates a powerful statement of defiance, conveying what many young women felt but were not given the opportunity to articulate.
The art of protest and women’s role in activism will form a key element of the show, with a range of banners, posters and journals, as well as documentary photography by Format Photography Agency, and artists such as Mumtaz Karimjee, and Bhajan Hunjan telling the story of rousing, women-led protests throughout this time.
Women in Revolt! focuses on causes such as the Greenham Common Women’s Peace Camp, established in 1981 to protest the placement of nuclear weapons, as well as the Section 28 protests, fighting against laws prohibiting the promotion of homosexuality.
Materials exploring the 1984 Miners’ Strike and anti-racism campaigns are also represented, highlighting the central role women have played in activism.
Women in Revolt!will also platform the crucial contribution of Black and South Asian women artists and activists.
The exhibition will explore the impact of women involved in movements including the BLK Art Group and the advocacy group and archive Panchayat, as well as their role in the first National Black Art Convention in 1982.
Key works by artists including Sutapa Biswas, Lubaina Himid, Claudette Johnson, Joy Gregory, Pratibha Parmar and Rita Keegan will feature alongside recently conserved works such as Nina Edge’s Snakes and Ladders (1985), an installation made of batik on paper and ceramicsandexhibited as part of Women in Revolt! for the first time in three decades.
The final room brings together work created in the context of the AIDS epidemic and Section 28 in the late 1980s, with a focus on lesbian communities.
Discover the powerful work of artists including Jill Posener, Del LaGrace Volcano, Rosy Martin, Poulomi Desai and Tessa Boffin. Women in Revolt! concludes with works that reflect on the changing economic landscape and women’s place within it by Kate Walker, Franki Raffles and Roshini Kempadoo.
Women in Revolt!is a timely and urgent exhibition celebrating the women who paved the way for future generations through their creativity and activism. The power of their work continues to resonate with audiences today.
Anne Lyden, Director-General at the National Galleries of Scotlandsaid: “We are proud to platform the work of women artists who have been underrepresented throughout their careers and are grateful to Tate for bringing this important exhibition to the forefront.
“Women in Revolt! also presents a fantastic opportunity to consider the Scottish women artists who have contributed significantly not only to the world of art, but the world around us.
“We hope visitors to Modern Two will be inspired by the tenacity, creativity and strength of the remarkable women they will encounter throughout this exhibition.”
Linsey Young, Curator of British Contemporary Art at Tate Britain said: “Being from Edinburgh, I’m thrilled that Women in Revolt! is touring to the National Galleries of Scotland.
“I’m particularly excited to see it take over Modern Two where the gallery’s unique space will allow it to a develop a new character and encourage different readings of the work.
“It’s a real joy to be able to present works by local artists such as Maud Sulter, Sam Ainsley, Rita McGurn, Erica Rutherford and Elizabeth Radcliffe in the exhibition along with so many of their celebrated peers, demonstrating the importance of Scottish women’s artistic practice in the broader context of feminist art history across the UK.”
The first of its kind, Women in Revolt! is a major survey of feminist art, celebrating the women whose radical ideas and rebellious methods changed the face of British culture.
Come and discover the powerful and often provocative work of over 100 women artists and collectives, forged against the backdrop of seismic social and economic change over two decades.
Tickets are on sale now from the National Galleries of Scotland website.
Curated by Linsey Young, Curator of British Contemporary Art at Tate Britain, in collaboration with the National Galleries of Scotland and The Whitworth, The University of Manchester, Women in Revolt! will take over the entire Modern Two gallery in Edinburgh from 25 May 2024 until 26 January 2025.
Following its debut at Tate Britain in November 2023, the exhibition will bring to Edinburgh a select range of works from the London show, drawing from public and private collections across the country in what will be the only chance to see this landmark exhibition in Scotland.
Women in Revolt! spans two decades of art and activism, charting a range of themes and social issues that influenced and impacted on women artists.
Topics such as the Women’s Liberation Movement, maternal and domestic experiences, Punk and independent music, Greenham Common and the peace movement, the visibility of Black and South Asian women artists, and Section 28 and the AIDS epidemic will be explored in six thematic galleries platforming the creative contributions, ideas and activism of a diverse set of communities living and working in the UK throughout this period.
Women in Revolt! will highlight the ways in which women challenged societal norms through their creativity, both collectively and in isolation, using their lived experiences to create art and fight injustice.
Paintings, drawings, sculptures, textiles, films, photography, and documentation of performances will be shown alongside a range of archival materials, with many artworks on display for the first time since the 1970s.
Work by well-known artists including Sonia Boyce, Helen Chadwick and Linder will be displayed side by side with an array of artists who, despite their long careers, have been left out of the mainstream art historical narratives.
Featuring artists from across the UK, the powerful work and pioneering techniques of Scottish-based women artists will also be showcased. Visitors will encounter works such as Cool Bitch and Hot Dog (1978) by Edinburgh-based artist and weaverElizabeth Radcliffe. Her sculptural three-dimensional tapestry reflectsthe artist’s desire to be a modern woman, defying the passive stereotypes of mother, caregiver, cleaner or sexual object.
Glasgow-born artist Rita McGurn utilised a range of found and domestic materials to create work, using techniques such as crochet, a long-undervalued artistic medium due to its domestic associations. Several of McGurn’s characterful life-sized soft sculptures will go on display at Modern Two.
Maud Sulter
Select works from Scotland’s national collection will also go on display, including Uraniafrom the seriesZabat (1989) by the Scots-Ghanaian artist and writer Maud Sulter.
A significant figure in the Black Arts Movement, Sulter used her practice to challenge white supremacy and reconsider history through a personal lens as a Black woman.
The monumental Warrior Woman V: The Artist (1986), by Glasgow-based Sam Ainsley will be shown in Scotland for the first time in nearly four decades as part of this tour. Standing at over 11 feet tall and brimming with the spirit of protest, Ainsley’s work presents a striking figure, embodying the artist’s expression of feminist concerns, challenging the patriarchy and asserting female power.
GMA 3026
The dramatic evolution of women’s relationships with work, domesticity and motherhood created an extensive source of inspiration for artists throughout this period. Frustrations fuelled by the expectations of domestic labour are palpable in a range of impactful works on display by artists such as Bobby Baker, Alexis Hunter and the See Red Women’s Workshop whose bold poster works challenge sexist stereotypes and directly reflect the demands and concerns of the Women’s Liberation Movement.
The social and political implications of women raising a family also comes into play in works such as The Hackney Flashers’ Who’s Holding the Baby (1978). The installation critiques the lack of government supported childcare and sheds light on the impossible position of being both a mother and a worker in 1970s Britain.
The riotous and expressive era of Punk and Post-Punk movements will be examined through collage, film and photography by artists and musicians including Marianne Elliott-Said (A.K.A Poly Styrene), Caroline Coon, and The Neo Naturists, whose ritualistic performance art of the 1980s used bold body paint to challenge the objectification of the female form.
Gina Birch, a founding member of the experimental Punk band The Raincoats, also presents her 1977 film 3 Minute Scream, where the artist can be heard screaming for the duration of a Super 8 cartridge. The film communicates a powerful statement of defiance, conveying what many young women felt but were not given the opportunity to articulate.
The art of protest and women’s role in activism will form a key element of the show, with a range of banners, posters and journals, as well as documentary photography by Format Photography Agency, Mumtaz Karimjee, and Bhajan Hunjan telling the story of rousing, women-led protests throughout this time.
Women in Revolt! focuses on causes such as the Greenham Common Women’s Peace Camp, established in 1981 to protest the placement of nuclear weapons, and the Section 28 protests, fighting against laws prohibiting the promotion of homosexuality.
Materials exploring the 1984 Miners’ Strike and anti-racism campaigns are also represented, highlighting the central role women have played in activism.
Women in Revolt!will also platform the crucial contribution of Black and South Asian women artists and activists. The exhibition will explore the impact of women involved in movements including the BLK Art Group and the advocacy group and archive Panchayat, as well as their role in the first National Black Art Convention in 1982.
Key works by artists including Sutapa Biswas, Lubaina Himid, Claudette Johnson, Joy Gregory, Pratibha Parmar and Rita Keegan will feature alongside recently conserved works such as Nina Edge’s Snakes and Ladders (1985), an installation made of batik on paper and ceramicsandexhibited as part of Women in Revolt! for the first time in three decades.
The final room brings together work created in the context of the AIDS epidemic and Section 28 in the late 1980s, with a focus on lesbian communities. Discover the powerful work of artists including Jill Posener, Del LaGrace Volcano, Poulomi Desai and Tessa Boffin. Women in Revolt! concludes with works that reflect on the changing economic landscape and women’s place within it by Franki Raffles and Roshini Kempadoo.
Women in Revolt!is a timely and urgent exhibition celebrating the women who paved the way for future generations through their creativity and activism. The power of their work continues to resonate with audiences today.
Anne Lyden, Director-General at the National Galleries of Scotlandsaid: “We are proud to platform the work of women artists who have been under-represented throughout their careers and are grateful to Tate for bringing this important exhibition to the forefront.
“Women in Revolt! also presents a fantastic opportunity to consider the Scottish women artists who have contributed significantly not only to the world of art, but the world around us. We hope visitors to Modern Two will be inspired by the tenacity, creativity and strength of the remarkable women they will encounter throughout this exhibition.”
Linsey Young, Curator of British Contemporary Art at Tate Britainsaid: “Being from Edinburgh, I’m thrilled that Women in Revolt! is touring to the National Galleries of Scotland.
“I’m particularly excited to see it take over Modern Two where the gallery’s unique space will allow it to a develop a new character and encourage different readings of the work.
“It’s a real joy to be able to present works by local artists such as Maud Sulter, Sam Ainsley, Rita McGurn, Erica Rutherford and Elizabeth Radcliffe in the exhibition along with so many of their celebrated peers, demonstrating the importance of Scottish women’s artistic practice in the broader context of feminist art history across the UK.”
Seasonal Artistic Disorder: Past and present works by Bernie Reid
Artist/s / Participants:
Bernie Reid
About the Exhibition:
Seasonal Artistic DisorderPast and present works by Bernie Reid The work included in SAD could be seen as an inventory. I wanted to take the opportunity allowed by this exhibition to sit different works from the last fifteen years alongside current works in order to reflect on the sometimes dispirit avenues of my practice and to see if new ideas emerge from these assemblies.
It is sometimes a rare moment for an artist to be able to set out works side by side and have the space, both physical and mental, to see how the works play, conflict, or settle with each other so I wanted to take advantage of this time to do some self-curation.
My past works engage with the figurative tradition seen through the lens of my history with graffiti and stencil art and they are often an attempt to work through the conflict between my influences.
I find challenge in sampling the traditional and the new and trying to try to coalesce these samples into something greater than the sum of its parts.
There are also examples of my interest in the decorative arts with my painted rugs and a sculpture piece which will appear “naked” for this outing.
At present I’m interested in the phenomena of AI generated art and its effect on painting and how art is perceived in general and I’ve tried to address my own issues with this burgeoning technology.
My hope for the show is, through the mixture of work from different periods, to have a kaleidoscopic moment for my own edification and the viewers entertainment.
Artist Bio:
Bernie Reid is an Edinburgh-based artist with an international reputation whose body of work includes mixed media paintings, trompe l’oeil decorative rugs, graphic screen prints and sculpture. Reid’s explorations of subculture, fashion, graffiti and eroticism can be seen throughout the work of his 30-year career as an illustrator and artist.
Reid often employs mediums and techniques associated with graffiti such as stencils and spray paint in his work.
His mixed media paintings use these techniques alongside traditional oils to depict abstracted and psychedelic figurative forms influenced by the subcultural practices of sampling and hacking established culture in order to create new identities, the deviant sensibility of graffiti never being too distant from the outcome.
Themes of subcultures and eroticism also manifest in Reid’s graphic screen prints. Driven by a taste for control and technical efficiency and influenced by the stylings of mid-century advertising and Italian futurism – Reid uses exaggerated shapes and line work to create figurative illustrations inspired by urban society.
As an illustrator Reid worked on commissions for clients such as Wallpaper magazine, Stella McCartney, Telegraph Newspaper, Habitat, Liberty London, Boxfresh, ID magazine and has had his personal work featured in a number of illustration books and journals.
Reid’s work has been shown internationally in galleries which include MOMA New York, SFMOMA, 019 in Ghent, Serpentine Galleries in London, Garage Museum in Moscow and on the island of Stromboli for the Fiorucci Art Trust.
Additionally, Reid regularly facilitates projects for Artlink, a local charity that aims to help people with mental health connect with a creative practice and others seeking to find wellness through art.
Opening Event
Thursday, 18th April, 5 pm – 8 pm Exhibition Dates Times Weekdays 22nd – 26th 11am – 4pm
There’s just days to go before Bronwen Winter Phoenix unveils her artwork in a solo debut exhibition at granton:hub – based in Madelvic House – over Easter weekend, with opening night on Friday (29th March), 6pm – 9pm.
The Edinburgh-based artist will also deliver live demonstrations for visitors who will be able to watch her paint within the gallery space throughout the day on Saturday 30th and Sunday 31st from 10am – 4pm.
Although this is Bronwen’s first solo exhibition, she recently had four pieces of work displayed at Edinburgh Palette as part of an open call exhibition from Awright Projects. DISCOVERY will showcase new works, along with some pivotal pieces for Bronwen.
An ex-journalist and Galaxy Award-nominated fiction author, Bronwen is currently studying contemporary art practice (CAP) at Edinburgh College’s Granton campus, and is involved in the local art community there – including being on the committee of student-run hubCAP Gallery.
Bronwen said: “I’m really excited to be showcasing my work in the welcoming setting of granton:hub. It definitely feels like I’ve been on a bit of a journey with my art the past couple of years, and this exhibition is the culmination of that, really.”
She continued: “Since I started painting again, I’ve been the happiest I’ve felt in my life, and I never want to stop. I feel like this is exactly where I need to be right now, but I’ve only managed to get here with the support of everyone around me, which I’m incredibly grateful for.”
Having been discouraged at a young age from pursuing her art dreams, Bronwen turned to writing instead, and until more recently, it’s how she had earned a living with journalism and her marketing agency.
Bronwen said: “It just goes to show, you should never let ANYONE discourage you from following your dreams. I feel incredibly lucky to have the opportunities I do now to pursue an art career, and I’m only just getting started.”
Since she first started painting and working with both traditional and digital media, Bronwen has worked with two national charities.
Official description via granton:hub:
Ever since she picked up a paintbrush for the first time in roughly 20 years, Edinburgh-based artist Bronwen Winter Phoenix has been on a journey of realisation and uncensored passion.
DISCOVERY is Bronwen’s solo debut exhibition in which she shares many of her major pictorial and sculptural artworks created on that journey of realisation, predominantly exploring the human condition. The way we’re fuelled, moulded, twisted and pulled by connection, love, and loss, as well mental health and inner demons. Her work highlights the physical, the moral, and the psychological, with even a bit of whimsy thrown in at times.
Bronwen has so far been commissioned by two national charities, and four pieces of her work were recently displayed at Edinburgh Palette as part of an open call exhibition, where they were well received.
Meet the artist herself, discuss the work at the preview evening or come along over the Easter weekend where Bronwen Winter Phoenix will be hosting a live painting demonstration during the day within the granton:hub gallery space at Madelvic House.
Style & Society: Dressing the Georgians The King’s Gallery, Palace of Holyroodhouse 22 March – 22 September 2024
Reopening under its new name of The King’s Gallery, the art gallery at the Palace of Holyroodhouse relaunches its exhibition programme with Style & Society: Dressing the Georgians, exploring life in 18th-century Britain through the fashions of the day.
It will be the 40th exhibition to be held in the Gallery since it opened in 2002 and the first in 18 months while the Gallery underwent essential maintenance works. A new scheme of £1 tickets, available to those receiving Universal Credit and other named benefits, will launch with the opening of the exhibition.
Style & Society: Dressing the Georgians will bring together almost 100 works from the Royal Collection, including paintings, prints and drawings by artists such as Thomas Gainsborough, William Hogarth and their contemporaries.
At the heart of the exhibition will bea selection ofsurviving period clothing and accessories, alongside paintings showing comparable items. Together, these works will build up a layer-by-layer picture of what the Georgians wore – from the functional dress of laundry maids to the glittering gowns suitable for court – between the accession of George I in 1714 and the death of George IV in 1830.
After a successful run in London, new additions have been made with distinctly Scottish links. These include two depictions of George IV by Fife-born artist Sir David Wilkie, painted to mark the first visit by a reigning monarch to Scotland in almost 200 years.
In the largest of these, the King stands proud in full Highland dress of Royal Stewart tartan, making a statement of unity with the monarch portrayed as heir to both the Hanoverians and the Jacobites following over a century of conflict. Also on display is a portrait by Louis Gabriel Blanchet of Bonnie Prince Charlie, showing the Jacobite leader as a defiant prince.
The 18th century was a period of discovery, with new inventions influencing fashion accessories. Imagery on fans – which could be revealed and concealed – gave women an opportunity to participate in topical conversations from which they might otherwise be excluded.
A French fan from 1783 depicts the second successful manned flight of a hot air balloon with a central vignette showing the balloon flying above Paris – to the delight of elegantly dressed crowds below.
Other accessories on display will include a miniature of Queen Charlotte, rings from her famed jewellery collection and jewel-encrusted snuffboxes.
From the introduction of military uniforms to the evolution of childrenswear and developments in haircare, and with notable loans from Historic Royal Palaces, the Fashion Museum Bath, The Bowes Museum, and The School of Historical Dress, this exhibition will explore what fashion can tell us about all areas of life in Georgian Britain.
As part of Royal Collection Trust’s charitable aim to ensure that as many people as possible can access and enjoy the Collection, the organisation is proud to launch a new scheme of £1 tickets for the exhibition, available to those receiving Universal Credit and other named benefits.
In addition to £1 tickets, The King’s Gallery will continue to offer a range of concessionary rates, while visitors who purchase standard tickets directly from Royal Collection Trust can convert them into a 1-Year Pass, allowing free re-entry for 12 months.
Anna Reynolds, curator of Style & Society: Dressing the Georgians, said: ‘Clothing and historical fashion can tell us an enormous amount about life in the Georgian period.
“It was a time of rapid change, including particularly momentous events in Scotland with attempts to restore the Stuart line to the throne and George IV’s visit north of the border – the first by a reigning monarch in almost 200 years.
“We are delighted to be launching accessible tickets with the opening of this exhibition, allowing more people than ever to learn about this exciting period in our history.’
Celebrate the Scottish Pop Art icon’s birthday at Modern Two
TODAY – Thursday 7 March 2024 – marks what would have been the 100th birthday of Scottish art icon Eduardo Paolozzi. Join the National Galleries Scotland in celebrating his big day in style at Paolozzi at 100.
Paolozzi at 100 is a tribute to the father of Pop Art. Taking over the ground floor of Modern Two in Edinburgh, this free exhibition takes visitors on a journey through some of Paolozzi’s most popular artworks, including his collages, prints, textiles, ceramics and sculptures.
In the exhibition, visitors can explore 60 vibrant artworks across two rooms and a special display in the Keiller Library. Discover the colourful life of a cultural icon through a selection of works drawn from Scotland’s national collection.
The exhibition begins with the years following Paolozzi’s first visit to Paris in 1947 and travels through his life. Learn about his eclectic take on popular culture and the machine age. Examine the highly detailed Mickey tapestry made with Dovecot Tapestry Studio and marvel in vibrant graphic and gold ceramic plate collaborations designed for Wedgwood.
Don’t miss the kinetic energy of the Calcium Light Night and Moonstrip Empire News screenprints. Complete the tour with a look into Paolozzi’s epic public art projects, including the vibrant mosaics designed for Tottenham Court Road Underground Station. In the Penrose Gallery, a large projection will focus on Paolozzi’s 1971 collaboration with fashion house, Lanvin.
All this can be seen alongside the recreation of Paolozzi’s London art studio, the towering Vulcan and the Cleish Castle Ceiling Panels, all permanently on display at Modern Two for visitors to enjoy all year round.
Indulge in a coffee at Paolozzi’s Kitchen, named in tribute to the artist himself, then take a stroll through the grounds and see if you can spot Paolozzi’s imposing sculpture Master of the Universe. Visitors can also delve deeper into the artworks with an eight stop free audioguide on Smartify.
Of Italian descent, Paolozzi was born in Edinburgh’s Leith in 1924, and is a much-loved son of the city. He studied in Edinburgh and London before spending two years in Paris. There, he produced enigmatic, bronze sculptures and Dada and Surrealist-inspired collages that combined magazine advertisements with cartoons and machine parts.
Returning to London to teach at several art schools, Paolozzi continued to develop his printmaking and sculpture techniques, with a particular interest in the mass media and in science and technology, developing a style that would become known as Pop Art. Paolozzi was knighted in 1989 and gifted a major bequest of his works to the National Galleries of Scotland in 1995.
Anne Lyden, Director-General at the National Galleries of Scotland said: “Eduardo Paolozzi is one of Scotland’s best-known artists and was an Edinburgh icon.
“His powerful influence can still be seen across the city today in everything from sculptures and architecture to fashion to food and drink brands.
“The National Galleries of Scotland is delighted to be celebrating his 100th birthday with an exhibition that brings together 60 key Paolozzi works from Scotland’s national collection.
“We hope everyone will take the opportunity to enjoy this free glimpse into the phenomenal art that is Paolozzi at 100.”
Paolozzi at 100 is open now at Modern Two. Join us and discover how high art became part of the everyday; from towering sculptures and chaotic prints to luxurious textiles and iconic collages, it’s time to celebrate the city’s favourite artist in style!
