Everyone is welcome to visit the Granton Gasholder Park public art design exhibition opening this Thursday 18th July 9am at Granton Station.
Running until Saturday 20th July 3pm.
On view will be proposal from the six shortlisted artists and artist teams who have been developing ideas alongside the local community in Granton for this permanent art installation opportunity.
Only one artist proposal will go forward. Come along to see all the options available. To be decided by selection panel only.
A new exhibition at the National Museum of Scotland explores Scotland’s critical position on the frontline of the Cold War. Cold War Scotland (13 Jul 2024 – 26 Jan 2025), features dozens of objects on display for the first time, including secret intelligence training documents and a map of central Scotland marked to highlight targets under threat of nuclear attack.
Scotland’s unique geography and topography provided a useful base for NATO military preparations and research during the Cold War, a 40-year nuclear stand-off between the USA and the Soviet Union following the end of the Second World War. Opening this Saturday, 13 June, the exhibition tells the stories of the Scots at the centre of this global conflict.
For the first time visitors will see an Ordnance Survey map of Scotland hand-painted to highlight areas that were expected to be affected in the event of a nuclear attack, particularly major cities, military bases and dockyards.
Created in the 1980s, it is colour coded to indicate the point of explosion and scale of the impact across the central belt and beyond. Atomic power brought jobs and investment to some of the country’s most remote areas, but as global tensions mounted this threat of attack or nuclear disaster became part of everyday life. Cold War Scotland explores both the visible and invisible legacies of the war in Scotland.
The impact of the war still lingers in Scottish politics, culture and memory. Scots played an active role in the global conflict as soldiers, for example, within intelligence services and as part of voluntary civil defences.
2HX4YA3 Britain’s Women Learn Atom Defence — Wearing anti-gas boots and headphones, Pamela Preston of the KVS probes and area with a Geiger monitor for supposed deadly radioactivity. A three-girl team drawn from the Red cross, the Women’s voluntary service and the red cross took part in a demonstration of atomic defence techniques at Winchester. England, Feb 18, The display was given by naval personnel from the Atomic defense school, HMS Phoenix, and was organized by the Hampshire civil defense corps. August 01, 1952. (Photo by Associated Press Photo).
The exhibition also draws on Scotland’s rich history of Cold War-era protest and activism. Firsthand accounts include a young mother who decorated her daughter’s pram with Campaign for Nuclear Disarmament (CND) badges.
A rattle made from an old laundry detergent bottle emblazoned with the CND logo was given to them during the Peace Marches of the early 1980s and is on display in the exhibition.
The exhibition also reveals the physical remains of the Cold War; the ruined bases, forgotten bunkers and decommissioned nuclear power stations still evident across the Scottish landscape.
This infrastructure became part of the fabric of local communities, none more so than the US-controlled listening and monitoring station at RAF Edzell in Angus, now commemorated with its own bespoke tartan.
Dr Meredith Greiling, Principal Curator of Technology at National Museums Scotland, said: “From nuclear submarines to lively peace protests and observation stations perpetually monitoring for devastating attack, the Cold War permeated every aspect of life in Scotland for decades.
“This conflict is so often remembered on a global scale, but this thought-provoking exhibition will offer a Scottish perspective of the period, allowing Scots from all walks of life to tell their remarkable stories for the first time.”
Further highlights of the exhibition include artwork from Glasgow’s 1951 Exhibition of Industrial Power and a toy nuclear power station, operated by steam and hot to the touch when played with.
Both these examples highlight the spirit of optimism, progress and modernity associated with atomic energy in postwar Britain. In contrast, a Geiger counter used by farmers in East Ayrshire to test for radiation in sheep following the Chernobyl Disaster illustrates the enduring but unseen impact of the Cold War on Scotland’s landscape.
The exhibition will be supported by a book and programme of events including curator tours and talks. Cold War Scotland is an output of Materialising the Cold War, a collaborative research project between National Museums Scotland and the University of Stirling.
The project explores how the Cold War heritage is represented and how museums can adapt to tell this story in future. Materialising the Cold War is funded by a major grant from the Arts and Humanities Research Council.
Cold War Scotland is part of Edinburgh Art Festival, taking place between 9 – 25 August 2024.
Cold War Scotland is part of Edinburgh Art Festival, taking place between 9-25 August 2024.
The Royal College of Physicians of Edinburgh (“the College”) is launching a new public exhibition next week: Wild & Tame: Animals in History.
The exhibition will explore the history of animals, real and imagined, and their impact on human lives and culture. From unicorns and the first Renaissance animal encyclopaedia to Charles Darwin, it will show how humans exploited animals and how they cared for them, creating our shared history.
As well as providing us with food and labour necessary for our survival, animals were essential in the development of medicine. They were our test subjects, as well as a source of medical ingredients – from the fat of whales to treat haemorrhoids in the past to modern use of venoms to treat heart disease.
The exhibition will show the instruments used to treat animals in the past and explore the modern idea of One Medicine – a call for closer cooperation between physicians and veterinarians for the benefit of all species on Earth.
Using the remarkable collection of the Royal College of Physicians of Edinburgh natural history books, the exhibition will show the changing ways we depicted animals and studied them, finally unlocking the mysteries of evolution and our place in the natural world.
The exhibition will also explore the vital role animals played in our cultural history, from myths and monsters to modern pets and companions.
As well as books and objects, the exhibition has an interactive digital display which further explores the place of animals in popular culture as symbols and mascots.
Estela Dukan, co-curator of the Wild and Tame: Animals in History said:“ Close links between animal and human health call for closer communication and cooperation between human medicine and veterinary medicine.
“Animals have been essential to human survival for thousands of years, but increasing number of humans living today and modern international travel mean we are coming into closer contact with different animals and environments across the planet.
“The Royal College of Physicians of Edinburgh recognises the importance of globally connected health research and education to improve wellbeing of humans and animals. Our exhibition explores the history of these links and the role animals played in development of modern medicine.”
Kate Aitkenhead, co-curator of the Wild and Tame: Animals in History, said: “Animals are an integral part of our daily lives. Our relationship with them has often been fraught and overbearing, whilst still maintaining a core of respect and companionship.
“We have included them in our heraldry, such as the rampant lion on the Scottish coat of arms, or the unicorn as the national animal of Scotland, seen as a creature of courage, purity and healing.
“Through artworks, objects, encyclopaedias and viewpoints both historical and modern, we explore the impact this ubiquitous relationship has had on medicine and science as a whole. Animals aren’t going anywhere.
“Our exhibition aims to provide an understanding of our shared history in order to help ensure the continued health and safety of humans and animals alike.”
The exhibition will also include contributions and quotes from people and organisations dedicated to conservation and animal health around the UK, such as Prof Neil Fitzpatrick, veterinary surgeon, and Sheila Voas, Chief veterinary Officer for Scotland.
The National Galleries of Scotland is delighted to announce the acquisition of Encounter (1959), by world-renowned Surrealist artist Remedios Varo (1908-1963). Extremely rare and sought-after, this is the first painting by Varo to enter a public collection in Europe. Encounter is on display and free to view at Modern One.
The work was acquired in time to mark the centenary of the publication in Paris of André Breton’s Manifesto of Surrealism in 1924, which effectively launched the movement. A significant and exciting acquisition for the people of Scotland, Varo only completed about 100 paintings in her lifetime, with most in public collections in Mexico. Only able to dedicate herself fully to creating art in the last decade of her life,Encounter was produced in 1959, at the height of Varo’s career.
The concept of the encounter – especially the chance encounter – was a subject favoured by the Surrealists for its mysterious potential.
In this striking composition, a seated figure carefully lifts the lid on a tiny casket to find her own eyes staring back at her. Several similar boxes sit on the shelves in the background, suggesting that there are more “selves” to be discovered.
Many of the figures that Varo painted resemble the artist herself, and this work is believed to be a self-portrait.
Varo said of the work: “This poor woman, full of curiosity and expectation as she opened the little coffer, encounters her own self; in the background, on the shelves, there are more little coffers, and who knows whether on opening them she will find something new.”
Born in Girona, Catalonia, in north-east Spain, Remedios Varo was a Surrealist painter and poet. Her father, an engineer, recognised her artistic talent from a young age and encouraged her to copy his technical drawings, which would influence her compositions for the rest of her life.
She was one of the first female students to attend the Academia de San Fernando in Madrid, where she enrolled at the age of 15, and later received her diploma as an art teacher. In 1935, after moving to Paris, Varo encountered artists engaging with Surrealist concepts, and was later introduced to the poet and founder of the Surrealist movement, André Breton.
After fleeing Nazi-occupied France in 1941, Varo settled in Mexico, where she was one of a small but important group of Surrealist poets, painters and photographers. These artists include Kati Horna and Leonora Carrington, with whom she forged a creative alliance but also an enduring, life-long friendship.
Using a combination of chance and planned techniques, Varo produced work that was influenced by science and the occult in equal measure. The resulting images are as mysterious as they are technically brilliant, often depicting enchanted domestic scenes and strange encounters with otherworldly beings.
Playing with the magical and spiritual potential of interior spaces, Varo sought power in ordinary rooms — in dusty corridors, and creaking doorways — transforming them into fantasy realms that overflow with possibility.
In the last ten years, the National Galleries of Scotland has made efforts to acquire major works of art by female artists.
This latest unique acquisition will help to expand the collection and give a more comprehensive view of Surrealism as a diverse, international movement, rather than one simply centred in Paris.
Other recent acquisitions include major artworks by Leonora Carrington, Dorothea Tanning and more recently, archival material related to Edith Rimmington.
Simon Groom, Director of Modern and Contemporary Art at the National Galleries of Scotland, said: “We’re thrilled to have acquired this incredibly rare and important painting by Remedios Varo. Her career as a full-time artist lasted little more than a decade.
“She worked slowly and meticulously, completing only about a hundred paintings, many of which are now in museum collections in Mexico and the USA. They are breathtaking gems which one seldom sees outside books.
“There’s not a single painting by her in a public collection outside the Americas. Or rather that was the case until now. Moreover, Encounter is a key work in her oeuvre, a self-portrait which deals with self-discovery and identity.
“It cements the National Galleries of Scotland’s collection of Surrealist art as one of the very finest in the world.”
Jenny Waldman, Director, Art Fund, said: “Artist Remedios Varo’s haunting painting, ‘Encounter’ into the Scottish National Galleries’ collection will captivate visitors from Scotland and across the UK.
“This painting is a key addition to Scottish National Galleries’ growing collection of major works by women artists. I’m delighted that Art Fund has been able to support this important Surrealist work to enter the permanent collection, thanks to our generous donors and National Art Pass members.”
The acquisition was made possible thanks to the Walton Fund, along with support from Art Fund and the Wendi Norris Gallery, San Francisco.
Local artists work on display during the Edinburgh Festival
The award-winning five-star Kimpton Charlotte Square Hotel is celebrating this year’s Edinburgh Festival by launching a new exhibition in partnership with &Gallery.
As the city welcomes visitors from around the globe for the world-famous Edinburgh Festival which celebrate arts and culture, the design-led hotel has unveiled a free art exhibition showcasing work from two local artists, Anna Somerville and Emily Moore.
Passionate about paint, mark making and colour, Anna Somerville creates expressive, painterly landscapes that conjure up hazy memories of places that she has visited. Her pieces on display at Kimpton Charlotte Square include ‘Highland Scape’, ‘Rapolano Neon Scape’ and ‘Tuscan Scape’.
Emily Moore’s paintings focus on the stark facades of modern tower blocks, inspired in part by a trip to Berlin, and latterly, places closer to home. The sharp lines of these modernist forms are overlaid with intricate patterns of leaves and tree branches.
Established in 2017, &Gallery is a contemporary visual art gallery located in the heart of Edinburgh’s New Town and the well-known art gallery district. &Gallery curates a specialist programme of solo exhibitions of represented artists along with curated group shows.
Its emphasis is on abstract and minimal painting, drawing and sculpture, by artists at various stages of their career who are located in Scotland, as well as throughout the UK and worldwide.
Both artists are graduates from Edinburgh College of Art and regularly exhibit with &Gallery. The new exhibition will be displayed throughout the ground floor of the hotel including the lobby, The Garden as well as the bar and restaurant area. All work is available to purchase through the &Gallery.
Avril Nicol, owner of &Gallery said: “We have really enjoyed collaborating with the Kimpton for our exhibition taking place during the renowned Edinburgh Festival and following months. I
“t was a pleasure curating a selection of work to compliment Charlotte Square’s unique interior, and a great opportunity to highlight the work of two talented local artists.”
Kieran Quinn, general manager at Kimpton Charlotte Square said: “The Edinburgh Festival is a time for the world to celebrate our city, its culture, and the arts.
“It’s important for us to make the most of this special time, giving local artists access to our guests and ensuring our guests are surrounded by wonderful talent.”
Guests and members of the public are invited to see Emily and Anna’s work on display at Kimpton Charlotte Square from today (Monday 14 August) until November.
Celebrating the work of resident artists and makers
Outside + In exhibition – Monday 15th to Saturday 20th May
Exciting FREE exhibition showcasing the work of Drill Hall residents
Featuring 14 artists and makers from paintings and illustration to jewellery.
Out of the Blue Drill Hall is excited to host an exhibition showcasing the work of 14 of its resident artists and makers, from painters and illustrators to jewellery makers and printers.
Organised by resident visual artist Felicity Inkpen, the exhibition, Outside + In, will run from Monday 15th to Saturday 20th May (10am to 5pm), with an opportunity to meet the artists on Wednesday 17th May from 5:30pm to 7:30pm..
The artists of the Drill Hall have collaboratively designed the exhibition, and are excited to invite the local community, family and friends to marvel at their creations.
With so many artists taking part, there really is something for everyone. Artists include abstract painter and surface pattern designer, Catherine Lazcano-Thornton. She is inspired by the love of colour and seasonal change, using acrylic paints and a combination of mixed media to create textures and marks.
Tom Duncan of Twin City Pictures will be showing his photography at the exhibition. He specialises in providing industry standard headshot and showreel material to actors, as well as creating marketing posters and social content for theatres.
The poster for the exhibition was designed by resident, and exhibition organiser, Felicity Inkpen. Practicing and exhibiting as an artist since 2012, she draws on her experience as a working research scientist to inform her contemporary works that attempt to explore and communicate all the strange ways in which the mind works.
Felicity comments: “Out of the Blue Drill Hall is such an important space within the creative community of Leith. The artists and makers within its walls work incredibly hard, and to be able to display their talents in this showcase is a joy.
“After a difficult few years, Leith feels like a very exciting place to be, creatively. I hope that anyone who is curious will come to see the exhibition, and to find out more about the creators in this space.”
Details of the Outside + In exhibition, as well as a list of participating artists and makers can be found on the Drill Hall website.
Decades: The Art of Change 1900-1980 Opening Saturday 29 April 2023
Free
National Galleries Scotland: Modern Two
Decades: The Art of Change 1900-1980, is an exploration of the modern art scene, from 1900 through to the 1970s. See how artists have captured changes in society as you move through the free exhibition, opening at Modern Two this Saturday (29 April).
You will discover how the mood and atmosphere of the work reflects and embodies each changing decade with works that have been carefully selected to best represent the period.
Filling all of Modern Two and spread across six rooms, the journey begins at the turn of the last century, in 1900. Meet the French artists who painted with electrifying colour in the first room, with work by Henri Matisse and André Derain.
Their brightly coloured landscape paintings were so radically different that the artists were given the derogatory label ‘Fauves’ – meaning ‘wild beasts’. The term stuck and Fauvism had a major impact on British and particularly Scottish art.
Two new acquisitions, by Scottish Colourists FCB Cadell and JD Fergusson, feature in this room. JD Fergusson, who was born in Leith but lived in Paris before the First World War, was one of the key Scottish artists of the twentieth century.
Painted in 1911, Flowers and Pink Box, has bright bold colour and confident, energetic brushwork. Fergusson’s work of this time often had sexual overtones and covert erotic references. In this painting, the pink box depicted is believed to have been used to store his condoms.
This is the first still life by Fergusson to enter the national collection. The Rose and the Lacquer Screen, by FCB Cadell, combines several of his favourite still-life props: a rose in a transparent vase, a black fan and its trailing ribbon and a detail of the lacquered screen that dominated the drawing room of his house in Edinburgh’s New Town.
Moving into the 1930s, artists such as Piet Mondrian believed that abstract art could change society. This room features work by Alexander Calder, Paule Vézelay and Ben Nicholson.
Entering the 1940s, abstraction and idealism were replaced by grim realism. Paintings and sculptures by Francis Bacon, Joan Eardley and Bet Low, created during and immediately after the Second World War, speak of a new reality, reflecting the harsh times. Benno Schotz’s sculpture Lament (1943) speaks of the Holocaust while William McCance’s Atom Horizon refers to the bombing of Hiroshima.
The 1950s saw a battle between Abstraction and Realism, played out in the shadow of the Cold War and the nuclear age. This is illustrated in Decades: The Art of Change 1900-1980 by two mural projects created for the great Festival of Britain exhibition of 1951, which are shown together here for the first time.
Josef Hermann’s project shows a row of miners - builders of a new social order; Victor Pasmore’s mural project is instead a daring essay glimpse of spiralling abstract forms. The art of the 1950s reaches into the future yet seems steeped in anxiety.
The display from the 1950s also features exceptional works by Alan Davie, Louise Nevelson, Fernand Léger, Eduardo Paolozzi and Elisabeth Frink.
Art became celebratory, playful and experimental in the 1960s. Sculptors abandoned traditional materials such as bronze and marble for ‘soft sculpture’, exemplified in the work of Jann Haworth, Yayoi Kusama and Duane Hanson’s iconic Tourists.
A firm favourite with visitors to the Modern, Tourists, captures the banality of post-war, consumer society with humour and warmth. Although these two figures are presented as a couple, they were cast from life but never even met. David Hockney’s etching of two gay men in bed dates from 1967, the year in which homosexuality was legalised in England and Wales.
Throughout the 1970s, artists took Abstraction and Minimalism to extremes. Fred Sandback’s Untitled, 1971 – two coloured cords which cut across the corner of the room – questions the very notion of art as something with three-dimensional form or narrative meaning.
The Keiller Library presents a witty and original focus on the motif of the hand in Surrealist art and writing. Drawing on works by artists like Man Ray, Edith Rimmington and Salvador Dali, from the national collection’s world- class holding of Surrealist books and archive material.
From a time when the motor car was just beginning to populate the roads to the dawn of the space race, the world changed significantly in the 80-year timespan that the exhibition covers. This selection of one hundred works from the national collection shows ways in which artists have continually pushed the boundaries and created art which defines its time. These pieces still have the power to shock and make us think about our world today and the changes and innovations to come.
Scottish National Gallery of Modern Art 1 & 2, Dean Road, Edinburgh. National Galleries of Scotland.
Director-General of the National Galleries of Scotland, Sir John Leighton, said: ‘National Galleries of Scotland is delighted to reopen Modern Two with an exhibition that celebrates the strength of the national collection.
“Featuring a fascinating range of works by many of Scotland and the world’s greatest artists, Decades: The Art of Change 1900-1980 encourages visitors to think about how art can both reflect and change the way we see the world around us. We welcome you to join us on a voyage of discovery through 80 years of bold artistic achievement.’
Neil Hanna Photography
www.neilhannaphotography.co.uk
07702 246823
Simon Groom, Director of Modern & Contemporary Art, said: ‘Decades is an amazing opportunity to discover the rich range and depth of art from the national collection in the 20th century.
“Arranged by decades – starting with the beautiful paintings of Henri Matisse, Pablo Picasso, and the Scottish Colourists, the show takes us on fascinating journey to see how artists as diverse as Francis Bacon, Joan Eardley, Eduardo Paolozzi, Yayoi Kusama, Bridget Riley, David Hockney, and Joseph Beuys reflected and gave shape to our experience of the 20th century.’
The Declaration of Arbroath will be displayed at the National Museum of Scotland this summer for the first time in 18 years.
The display has been organised in partnership between National Museums Scotland and National Records of Scotland, who are custodians of the document. The famous document will be on show from 3 June to 2 July 2023.
The document has not been on public display for 18 years, when it was last displayed at the Scottish Parliament. The iconic and fragile 700-year-old document, which is cared for and preserved for future generations by National Records of Scotland, can only be displayed occasionally in order to ensure its long-term preservation.
The Declaration was initially due to be displayed in April 2020 to coincide with its 700th anniversary, but this had to be postponed due to the pandemic. The new summer date has been chosen to give as many people as possible the rare chance to see one of Scotland’s most important historical documents.
The Declaration of Arbroath is a letter dated 6 April 1320, written by the barons and freeholders of Scotland, on behalf of the Kingdom of Scotland, to Pope John XXII asking him to recognise Scotland’s independence and acknowledge Robert the Bruce as the country’s lawful king.
The letter also asks the Pontiff to persuade King Edward II of England to end hostilities against the Scots, so that their energy may be better used to secure the frontiers of Christendom.
The Declaration was probably drafted at a meeting of the King and his council at Newbattle, then written up in the scriptorium of Arbroath Abbey. Written in Latin, it was sealed by eight earls and about forty barons. It was authenticated by seals, as documents at that time were not signed. Only 19 seals now remain.
Alice Blackwell, Senior Curator of Medieval Archaeology and History at National Museums Scotland said: “We are delighted to have the opportunity to display the Declaration of Arbroath here at the National Museum of Scotland.
“It is a hugely significant document and a vital piece of Scotland’s history. We look forward to welcoming many visitors to enjoy the rare opportunity of seeing this iconic document close up.”
Culture Secretary, Angus Robertson said: “The Declaration of Arbroath is of great historic and cultural interest to Scots and people around the world of Scottish descent.
“The display of this iconic document will give people from across Scotland and further afield a wonderful opportunity to visit the museum and see this important piece of history for themselves.”
Laura Mitchell, Deputy Keeper, National Records of Scotland, said: “The Declaration of Arbroath is a key treasure in our extensive collections and we are proud of the role we play in conserving this significant historical artefact for future generations.
“The display will allow Scots and visitors from further afield to see this famous document for the first time in 18 years.”
The Declaration was written during the long Wars of Independence with England when, despite the Scots’ success at the Battle of Bannockburn, Robert I had not been recognised as king by either Edward II or by the Pope, and had been excommunicated by the latter.
At this time, the Pope desired peace between England and Scotland, so both could help in a crusade to the Holy Land. The Declaration sought to influence him by offering the possibility of support from the Scots for his long-desired crusade if they no longer had to fear English invasion.
After receiving the Declaration, the Pope urged reconciliation between the warring sides and a truce was agreed in 1323. A peace treaty was signed between England and Scotland in March 1328 and the following year the Pope issued a papal bull permitting the anointing and crowning of a King of Scots.
The peace was short-lived, however, as the Second War of Independence broke out in 1332 and went on for twenty-five years.
TURNER IN JANUARY 1 January – 31 January 2023, open daily 10am – 5pm Royal Scottish Academy The Mound, Edinburgh. EH2 2EL 0131 624 6200 | nationalgalleries.org Admission free
Opening on New Year’s Day 2023, the National Galleries of Scotland (NGS) is pleased to welcome back visitors to their yearly tradition:Turner in January.
Scotland’s famous collection of Joseph Mallord William Turner watercolours was left to the nation by the great art collector Henry Vaughan in 1900. Since then, following Vaughan’s strict guidelines, they have only ever been displayed during the month of January, when natural light levels are at their lowest. Because of this, these watercolours still possess a freshness and an intensity of colour, almost 200 years since they were originally created.
Turner in January, the annual exhibition of these watercolours in Edinburgh, is a keenly awaited tradition for many people in Scotland. The 38 watercolours include dramatic landscapes from the Himalayas, the Swiss Alps, and the Isle of Skye, grand visions of Venice, and captivating seascapes. They will take you on a journey through Britain, Europe and beyond, and guide you through the life and career of this iconic artist.
Turner was the most famous British artist of the 19th century. In a career spanning over 50 years, he experimented constantly with technique and colour and created landscapes that still astonish today.
Turner developed new ways of painting in watercolour and revolutionised ideas of what could be achieved in the medium. Through a combination of exceptional talent and incredible hard work, Turner was able to capture in paint the sublime beauty of the natural world.
Taking over two large, spacious rooms within the Royal Scottish Academy, Turner in January contains all 38 watercolours from Henry Vaughan’s gift to the nation, plus the exciting addition of the mesmerising Bell Rock Lighthouse (1819).
In 2023, NGS is delighted that this much-loved annual exhibition is made possible thanks to players of People’s Postcode Lottery.
Charlotte Topsfield, Senior Curator of European & Scottish Art at the National Galleries of Scotland, said: ‘As we enter the New Year, Turner’s watercolours bring light to the dark days of January.
“The brilliantly preserved Vaughan Turners, and their accompanying tradition, hold a special place in the hearts of our visitors. We look forward to welcoming you back’.
ART OFFENDERS is the first exhibition presented to you by CREATIVE COLLABORATIONS
Wednesday 8th December 2021
4pm – 7pm
Spartans Community Football Academy, Ainsley Park, 94 Pilton Drive
This event is FREE
Prior to the pandemic, the young people who attend Spartans Alternative School connected their art with their social enterprise project and named it CREATIVE COLLABORATIONS.
Their mission was to create awareness and positive change while they explored different ways of creating art. This year they spoke a lot about war and the negative impacts that battle and war has had on the lives of our soldiers when they return home.
This exhibition features drawings, paintings, creative writing, film and 3D work that will be available to purchase. Specially designed cards, prints and mugs will also be on sale at our ‘pop up shop’. They have chosen to donate money raised, to Scottish Veterans residences, based in Edinburgh.
SCOTTISH VETERANS RESIDENCES, provides supported housing for former members of the UK Armed Forces who are homeless or at risk of homelessness. Their services are located in Edinburgh, Dundee and Glasgow.
We look forward to welcoming you to come enjoy some Artwork and support our mission, to raise funds for Scottish war veterans.
